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Other Stage
This page is provided only for information, it does not apply to the 2002 festival.
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Get special discounted CDs by Glastonbury artists from Audiostreet in association with Playlouder. Also read bonus feature on the Other stage and the days performers on Audiostreet.
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MUSE
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Currently moving up swiftly from wide-eyed Next Big Things to self-assured Pop Stars, Muse are very probably the band of 2000. Matt Bellamy, Chris Wolstenholme and Dominic Howard burst out of sleepy Teignmouth with gut-ripping riffs and ear-piercing falsetto, and quickly swapped disgusted villagers for devoted fans. Gaining four worldwide record deals, they released the Showbiz album (which has sold over 200,000 in the UK) last year, put out a couple of singles and watched the Radiohead comparisons grow and grow. But while both bands have a good line in pain-ridden lyrics and fragility, and vocalist Matt Bellamy is as short, as slight and as fond of delicate, high-pitched warbling as Thom Yorke, Muse are more than Radiohead Mark 2. They are heavier, louder and they don�t write songs, they write epics - storming, majestic opuses infused with an emotional heart, a melodic sensibility and the tortured vocals of a man who really feels. At gigs, they turn into thrashing rock monsters, with Matt regularly attacking his guitar as the fans mosh like a demon. You can be part of the heaving crowd prior to Glastonbury at Torquay�s Riviera Centre on June 21st, and check out 'Unintended', the fifth single from Showbiz.
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SOULWAX
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In Belgium they're heroes. They're TV and radio presenters, DJs and - perhaps most importantly - suit-wearing, mosh inducing ironic wizards of breakbeats and guitars. Over in the UK it's just a matter of time, but already their crazy brand of Euro rock'n'pop is melting hearts like Belgium chocolates on a hot plate. Their singles - 'Too Many DJs', 'Conversation Intercom', and the latest, 'Much Against Everyone's Advice' -are cunning blends of chugging guitars, crooning, screaming, dance beats and cut up staccato strings. If you thought Stella Artois was the only thing from Belgium to make your head spin and your knees go weak, think again. You need some Soulwax baby.
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COLDPLAY
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Coldplay are positive proof that the education system in Britain has more to offer than student debt, snakebite hangovers and useless degrees. Formed at college in London in 1998, the band went on to record a couple of singles - the self financed 'Safety EP', and Brothers & Sisters on Fierce Panda - before signing to Parlophone Records. Since then it's all been a blur: Radio one love 'em, their tours have rocked and the band have been tipped for big things in 2000. Watch out for their album which promises to be more of the same - beautiful, emotional and filled with soul.
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CRASHLAND
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Power pop, punk rock, grinding-guitar-bouncy-bouncy-gurning music - call it what you what, but whatever it's called it rocks and smells like dirty fun. Crashland smashed headlong onto the music with their debut single 'New Perfume' - released on Blue Dog recordings in '98 - before getting nabbed by Independiente. Their raucous tours with Ash, Cay, Idlewild and Mansun have driven the point home until their noisy, groovy, insanity sauce left it's sticky trail all down the front of T-shirts across the land. Expect rain-damaged fun and precision point pop tunes.
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DEATH IN VEGAS
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It was never really big beat in the first place, but somewhere between their debut album, Dead Elvis, and the follow up, The Contino Sessions, Death In Vegas became ROCK! A scuffed up, sinister, subversive fusion of psychedelic dance, cock rock and dirty grungey garage, The Contino Sessions saw DIV shift into a new gear completely and left the pack eating dust. Somewhere amongst the sinister tales of murderous husbands and tripped out instrumentals they managed to infuse soul as a deep as the ocean. Turn on the TV and they're sound-tracking reverse strips for Levi adverts. Their recent outings with Primal Scream, were a perfect match - two sides of the same coin, two bands selling their souls to the devil in the name of rock 'n' roll. Furiously modern, but at the same time rooted firmly in the music that inspired them.
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ELASTICA
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Even after the success of their last album, many had Justine Frishman penned as nowt but a junky with a talent for ripping off tunes form the 70's and riding the Britpop wave. But with the arrival of their second album- The Menace - Elastica have, in effect, proved themselves. Amid members leaving, members joining and members leaving and then joining again they've managed to produce an album which exceeds the high expectations. They've lost some of that poppy sheen and replaced it instead with gnashing layers of noise and pure adrenaline grunged up rock. Whether their genius collaboration with Mark E. Smith will be replicated live remains to be seen, but whatever the on stage formation you can be sure for a rocking good time.
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ST ETTIENNE
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Acid House had just exploded all over the tail end of the eighties when Cracknall, Stanley and Wiggs released one of the songs that would define the era, Only Love Can Break Your Heart - full of dreamy vocals, sixties feel good vibes and staccato beats. More than ten years later St Ettienne have a new album out - Sound Of Water - which maintains their stance as one of the essential bands of the Nineties. They've helped define the sounds of an era, arguably starting the retro culture which spawned Oasis, started their own label signing the likes of Kenickie and Denim and helped keep a sense of fun and irony in music for over a decade. Their new album is every bit as wistful, poppy and magical as it's predecessors. Guaranteed to charm the pants off the lot of us.
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CLINIC
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The band with the surgical masks. The band with a fine line for situationist statements, like their first single, 'IPC Sub-Editors Dictate Our Youth'. The band with one of the most original sounds around. Their sonic cocktail of surfer punk, bubble gum pop and Phil Spector-esque work-outs is intensely uncompromising and utterly compelling. Forget Shack or Cast - THIS is the true sound of Liverpool: the sound of youth quietly contemplating the world and delivering a fucked up slice of venom back. Expect a new single - 'Distortions In July' - taken from their album Internal Wrangler and a support slot with Radiohead in July. Clinic rock!
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WANNADIES
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There was always more to the Wannadies than THAT song. Chances are, many people only know them from the adverts. But whereas 'You And Me Song' has proved to be The wannadies' biggest single to date, it's also proved to be somewhat of an albatross. Their latest album, 'Yeah', is packed full of sparkling indie-rock polished with pop glitter but their singles so far - Yeah and Big Fan - have failed to replicate past glories. Live the band are better than ever, with their recent tours standing as a testament to their great songwriting, but it's still THAT song that gets the biggest cheer by far...always and forever!
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ASIAN DUB FOUNDATION
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Along with Death In Vegas and Primal Scream, Asian Dub Foundation are arguably one of the best live bands in country. While their records capture some of their energy, it's live where the furious drum and bass, ragga, hip hop sonic warfare makes perfect sense. Even the member names are cool; Pandit G, Chandrasonic, Dr Das... They even have time, in-between epic tours and rocking albums, to campaign for the release of Satpal Ram. Rooted firmly in their concepts of community and community music, Asian Dub are more than your usual bunch of faceless dance heads. Politically charged, conscience minded and fiercely defensive of their beliefs, they are truly a band for the noughties.
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ORANGE CAN
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Lauded as one of the bands to watch out for the new millennium, Orange Can are accordingly almost impossible to define. They swerve and coast over genres irreverently, one minute delving into tripped out post Roses jams, the next slow meandering countrified rock. Their debut album - 'Entrance High Rise' -only confounded things further. Whatever the problematic pigeon holing opinions are usually good. Live they are credited with hosting events rather gigs - film loops and visuals a-go-go - so watch out for an event in a field somewhere in the heart of Somerset!
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DANDY WARHOLS
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"The best songwriter on earth", "vastly gifted" and "genius" are not terms people throw about lightly, but when it comes to Elliott Smith you have to dodge enormous volleys of them. The Texas-born Smith had a cult following for years, initially with alt rock band Heatmiser, but it wasn't until 1998, when he contributed to the soundtrack of Gus Van Sant,s movie Good Will Hunting and 'Miss Misery' won an Oscar, that he found widespread fame. A shy and quiet man and a writer of beautiful melodies and melancholic lyrics, he's regularly been compared to fellow introspective artists Nick Drake and Simon and Garfunkel. 1998's XO, which featured 'Waltz #2', a song about family arguments set to a (surprise, surprise) waltz rhythm, was hugely acclaimed and cemented his growing reputation as a star talent. His current and fifth album, Figure 8, is his most sonically experimental, utilising a wider range of instruments and multi-layering, and has been touted almost universally as his best yet. Its opener, the unusually breezy 'Son of Sam' is released as a single on 19th June and two days later Smith plays at Scott Walker's Meltdown at London's Royal Festival Hall.
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BETA BAND
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It's a rare thing for a band not to promote their new material at every available opportunity, but The Beta Band didn't so much neglect to push their first album proper, 1999's The Beta Band, as wilfully slag it off. Still, they didn't find many sympathizers with their view that it was "rubbish", and much of the press lauded the record's vastly experimental psychedelic lo-fi, although detractors accused it of incoherence. Heralded as uncompromising musical innovators, John MacLean, Steve Mason, Robin Jones and Richard Greentree first appeared in '97 with the 'Champion Versions EP', (later re-released on The Three Eps) which set their standard of musically diversity. Unsurprisingly, translating their sample-heavy records to the live act isn't easy, but when they get it right, the Betas' unpredictable shows (guest rappers, projections of self-made films and other art-oriented doings have featured along with their constant instrument-swapping) can be just short of mind-blowing. Since January's superb double-A-side 'To You Alone'/'Sequinsizer', Mason's been working on his second solo EP under his King Biscuit Time moniker. Enititled 'No Style', it'll be out on 19th June. The other members have been having a break before writing new material.
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IDLEWILD
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You might expect a band named after the rural playhouse in Anne Of Green Gables to be childish or at least twee, but Edinburgh's Idlewild are quite the reverse. Roddy Woomble, Rod Jones, Bob Fairfoull and Colin Newton aren�t shoegazing, corduroy-wearing navel-gazers but post-punk noiseniks with tunes. Having dropped out of university in '97 they notched up four singles, a mini-album and a stunning, critically-acclaimed debut album Hope Is Important all within the year. '99 gave them their first top twenty hit - the gloriously infectious 'When I Argue I See Shapes' - and was followed by 'Little Discourage', which reached number 24 and which showcased the new direction of their second album 100 Broken Windows. This year 'Actually It�s Darkness' saw them playing on Top Of The Pops for the first time before releasing 100 Broken Windows which went to number 15: although the guitars still slam and Roddy still shouts, it is a far more melodic and thoughtful record than its predecessor. Prior to Glastonbury, they bring out 'These Wooden Ideas' on June 12th, and play an instore gig at Virgin Megastore the following day.
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WHEAT
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Sounding like a three-way collision between Pavement, the Go-Betweens and Frank Black, Massachussetts Wheat deal in obscure but poetic lyrics, lo-fi guitar wanderings and beautiful shadows of melody that creep up behind you. Their first record, Medeiros, was embraced in Britain like a long-lost child, and the reception to the follow-up, Hope and Adams, produced by Mercury Rev, Flaming Lips and Mogwai producer Dave Fridmann, was even more rapturous. Yet they don't do many interviews, don't tour much, and when they do, tend to play in a circle, seemingly lost in their own world. At their last UK gig, supporting Flaming Lips at London's capacious Royal Festival Hall, vocalist Scott Levesque exclaimed nervously to the audience, "You all seem so far away!". Arrogant popstars they are not. See them while you can - they are not likely to return to the UK for a long while, although they are scheduled to play a handful of dates after Glastonbury.
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FU MANCHO
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Often described as having the heavy riffs of Black Sabbath and the stoner essence of Monster Magnet, California's Fu Manchu play a kind of psychedelic skate rock. Part of the underground since their first EP in 1990, the last two albums, The Action is Go and King of The Road, featuring a new line up including ex-Kyuss drummer Brant Bjork, saw the band creep into the mainstream. Their lyrics are incomprehensible (eg. "I'm living in a freakshow/I sink down low/I got away ridin'/I'm king of the road") with vocalist Scott Hill actually stating that 'They're usually about nothing." But, as their frequent vehicle-oriented cover art suggests, there is a preoccupation with "cars, motorcycles, vans, choppers", especially on the current record. Rock out with Bjork's furious drumming and Bob Balch's power-fuelled guitar and explore that love of drag-racing you never knew you had.
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THE BLOODHOUND GANG
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They�re anti-PC, adolescent and lavatorial, they talk about women and sex (always simultaneously) with the graphic crudeness of fourteen year old boys and smother themselves with fake excrement in their videos. If it wasn�t so tongue in cheek, it would be wildly offensive, and plenty of people think it is anyway. Parts of the video to their recent top five hit, OThe Bad Touch� were censored worldwide, and an episode in which the band, dressed in monkey suits, battered two French sailors who are arm-in-arm with baguettes, upset the Gay & Lesbian Alliance Against Defamation. Frontman Jimmy Pop denied charges of homophobia, and promptly wrote an article for a gay porn mag on the delights of (heterosexual) anal oral sex. He doesn't really go in for moral scruples. At a recent gig he poured milk down a fan's trousers and exhorted the audience to throw up , so no doubt they'll be plenty of audience participation at Glastonbury. If you feel safer with the recorded experience, you can buy OMope�, the second singlefrom their best selling third album, Hooray For Boobies, from 24th July.
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METHODS OF MAYHEM
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You may know him better as Motley Crue's drummer or the on/off husband of Pamela Anderson, but Tommy Lee, now sporting dreadlocks, is also the frontman of this rap/metal outfit. While incarcerated for four months last year for assaulting his spouse, Lee, who felt stultified in the Crue, started writing songs, calling his home and singing into his answerphone. He teamed up with ex -HedPe rapper Tilo and Methods Of Mayhem was born. They've released a self-titled album featuring a star-studded cast of guest rappers and rockers including Snoop Dogg, Kid Rock, Limp Bizkit's Fred Durst and L'il Kim, which has had mixed reviews. The band are currently touring Europe but their plans were nearly put on hold as Lee landed himself back in jail for allegedly breaking his probation, which stated that he wasn't to drink alcohol. Hopefully he'll still be free for Glastonbury.
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LEFTFIELD
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When Leftfield took their 'Leftism' album on the road their legendary bass heavy soundsystem proved so powerful it literally brought the house down at the Brixton Academy where bits of ceiling started to rain down on the euphoric crowd. With the stunning second album 'Rhythm and Stealth' to promote, the duo of Neil Barnes and Paul Daley have done little to cut back on the excessive decibels. Augmented by their usual live crew (co-producer Nick Rappaccioli, Adam Wren on FX, MC Cheshire Cat chatting in his own inimitable style) the live and direct Leftfield experience finds 'Rhythm and Stealth' turned into a brutal groove monster with a righteous digi-dub underbelly. Check the stunning mid set melt of 'Black Flute' and 'Storm 3000' or the rocking reworkings of 'Song of Life' and 'Check One'. Awesome.
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BROADCAST
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In a musical climate that has many new bands clinging to the nostalgia lifeboat, Broadcast's retroism is purely 21st-century.
"Atmospheric" is perhaps a more appropriate adjective for the Birmingham band's sound. The swirling keyboards, gentle guitars, and singer Trish Keenan's haunted vocals are a cinematic combination of Haight-Ashbury 1968, Ennio Morricone, and Left-Bank cool that somehow manages to have its feet firmly rooted in the present. Craft does not come without its price - the notorious perfectionists went through a string of producers during the recording of debut album proper, "The Noise Made By People". After much speculation whether this album would actually happen, the end result is a sublime contradiction of nostalgic futurism. Catch Broadcast when they play the Other stage - they'll prove it was worth the wait.
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MOBY
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So what do you really know about Moby? He's bald. (Well, yes.) He's a strict vegan. (Yeah, yeah.) He's Christian. (Not that one again.) If that's all you think there is to Moby, then you are advised to stop reading this now and find a proper website - preferably one backed by one of the major record labels. (There's a pretty good one that will tell you which member of Five you're romantically compatible with according to your star sign.) Moby's one of the most criminally overlooked artists of the past ten years. For most of the 1990's, he seemed destined to languish in obscurity, occupying the netherland between dance, punk, rave and whatever other sub-genre or buzzword the music press could throw at you. Moby didn't seem to mind; he just continued doing his own thing. It was just business as usual when about a year ago, Moby presented to the world an 18-song collection called "Play", a heady mixture of rock, blues, gospel and hip-hop which once again clearly defied categorisation. As usual, it completely confused the vast majority of the public - you couldn't slap a label on it, so most people decided to stick with what was on the Megastore's "Recommended" display. Nothing surprising there, then. Then something weird happened. Bits and pieces of Moby's music started popping up everywhere: in car commercials, in films, and (shock horror) on daytime radio. Shows on his world tour began selling out so quickly that many had to be bumped up to venues nearly three times the size. "Play" went gold, then platinum, and then double-platinum all over the world - including the U.S., Canada, France, New Zealand, Switzerland, Australia, Germany, Ireland, Iceland and right here in the UK, where it recently spent five weeks at number one...a full year after its release. The music mags that had originally slated Moby and "Play" were suddenly telling us "we knew it was wikkid all along." Whatever. Those of you who haven't buggered off to the Five website and are still reading: educate yourselves. Moby's fun. (Who else would do a jazz-samba version of a rave classic onstage?) He's cool. (He'd much rather hang out with his friends and watch the Simpsons then rub elbows with the glitterati.) And he's a nice guy. (There must be some reason Natalie Portman would snog a bald 34-year-old.) Still unconvinced? If you find yourselves at Glasters this year, stop by at the Other Stage and check Moby's set out. When he rips through the classics like the Twin Peaks-sampling "Go" and "Feeling So Real", the riffage of "Bodyrock" and "Find My Baby", the boys-and-their-toys fun of "The Bond Theme", and the sheer beauty of "Porcelain", it will all make sense.
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DARK STAR
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Three years after Levitation had fallen to earth with a crash following singer (and ex-House of Love guitarist) Terry Bickers' dramatic mid-gig exit in '93, guitarist Bic Hayes, drummer Dave Francolini and bassist Laurence O'Keefe dusted themselves down and reformed as Dark Star with Hayes on vocals. In 1999, the trio brought out the 20/20 Sound album, a confident epic of light and shade, pure noise and melody. Like Levitation, they deal in psychedelic indie, but are more sharply defined, with triumphant barrages of aggression and white-hot guitar blister offset by tuneful breaks. Their lyrics are eloquent, often witty and disconcerting - recent single, the anthemic 'I Am The Sun' features the line "Jesus was my age/When he got nailed."! Live, they are a sprawling storm of energy, with Francolini
drumming like a maniac and Bic's androgynous tones rising to a squall. Last year's lovely 'About 3am' failed to chart, but the re-release of their 'Gracedelica EP' reached number 25 in January and had the unlikely effect of getting the black-clad boys rubbing shoulders with Artful Dodger on Top Of The Pops! Dark Star are clearly rising.
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THE THE
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Matt Johnson was once cooler than a bedsit full of Belle and Sebastian bootlegs, his version of acoustic angst providing the soundtrack to a housand nervous breakdowns until the raw funk of his 'Infected' album announced that it was OK to dance but still be angry. Today the man who is he The is less angry and almost entirely acoustic, but he's no less sharp as a songwriter as his recently released 'Naked Self' album proved. Still soul mining, but with a happier frame of mind, Matt Johnson is a must for fans of the perfectly crafted song.
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BASEMENT JAXX
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Few people could claim to have made an region of London trendy, but when the Jaxx team started their Brixton club it quickly became the essential stopping off place for the capital's scene-stealing in-crowd. The reaction to the duo's debut album 'Remedy' was similarly hypetastic - happily, as with the club, the hype was all worth it. Basement Jaxx combine classic house with sultry R'n'B, London ragga with Brazilian energy and dub fire with disco sauce to create a melting pot which perfectly captures summer life in the city. The live experience is like a Carnival storm in strange brew tea cup: sexy, vibrant, lively and groovesome. Not to be missed.
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THE FOR CARNATION
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Given that the music press has seen fit to adopt Slint as one of the most eminently droppable names of the past five years (in spite of them splitting up in the first half of the '90s), it seems only fair that several of Louisville, Kentucky's finest have re-entered the fray, armed with brand new clutches of the slowest, loveliest tunes that lo-fi money can buy. Brian McMahan was somewhat later in Returning than many of his colleagues, but his latest project, the bizarrely named The For Carnation, has by no means suffered as a result. Their self-titled debut album, released earlier this year on the increasingly legendary Domino label, won critical plaudits galore thanks to its cinematic expanses and tales of heartbreak, and their two UK appearances to date haven't exactly seen them trawling the
streets to find punters. Should be reasonably and rightfully rammed.
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MO SOLID GOLD
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Mo Solid Gold have got soul, ye-AH! Think Jon Spencer you can breakdance to, think James Brown with a London accent, think Otis with a LOT of pelvic thrusts. Frontman K makes believe he's a star, but he's got all the moves, grooves and Hammond to prove that his fantasy is not far from reality. If anyone can get the too-cool pub backroom-crowds of Camden moving, it's Mo Solid Gold. The days of leaning against the bar, glaring at everyone you don't know and checking out their shoes are over, cos this foursome have the
groove and are gonna go Stax all over yo ass.
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� 1994-2000 Glastonbury Festivals Ltd.
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