drop. magazine by Alice Mortimer

NEW MUSIC FIRST FREE ISSUE 1 JANUARY 2017 DROPMAG.COM

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ODDER

SEAS

BLOSSOMS DECLAN MCKENNA GRAND WA ZOO

JA N UA RY 2

COVER AND CONTENTS SHOT: MARIA MEMET

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EDITORIAL TEAM

The new year only means one thing in our eyes, new music. Giving you new music first we start off the year with our exciting new-to-the-scene cover stars, Norwich’s very own, Odder Seas. We were given a tour of the city (well, its pubs) by the boys who told us all about their style and their hopes for the new year. Alongside pub-hopping with Odder Seas, we hung out backstage with guitar-pop risers Blossoms to chat about their number one debut and supporting The Stone Roses before it even dropped. This issue we’re all about reflecting on a year of great music whilst looking forward to upcomers set to really breakout in 2017. We’ve been to gigs galore, listened to a million times more albums and written all about it just for you. Plus more...

drop. team

ALICE MORTIMER EDITOR AND ART DIRECTOR

GEORGINA HEWISON FEATURES EDITOR

MINQI WANG EDITORIAL/WRITER

Get ready to start the year off with a bang

dropmagazine /bangers

REVIEWS OFFICE PLAYLIST

N E W R E L E A S E S 4-5 LIVE: HONNE 15 LIVE: HONEYBLOOD 16

FEATURES

BLOSSOM ODDER SEAS 2016: RANKED 1 GOTM: K-POP 2

S 9 2 2

6 -

1 1 2

8 1 4 3

UPCOMING

GRAND WA ZOO 17 -19 DECLAN MCKENNA 20 - 21

what we’re listening to... I’m Not Your Girl - Estrons Kick ‘em punk-rock for when you’re in need of some of that back-to-work motivation. Get Bigger/Do U Luv - NxWorries Smooth hip-hop giving ourselves another excuse to talk about Anderson .Paak and daydream about the summer. @dropmagazine /dropmagazine

new release ‘Babes Never Die’ Honeyblood Glasgow duo Honeyblood are part of something truly exciting that we’re seeing happening in today’s music scene - a massive rise in female-fronted, and indeed all-female rock bands- producing and most passionately performing a range of sexually-charged garage rock and punk, encompassing themes of fearlessness and female empowerment. Whilst Honeyblood’s two-year-old debut was all about shitty men, Babes Never Die is a gritty, valiant response on a record essentially about f*cking the haters. Fuzzy guitar and Tweeddale’s snarling vocal hooks are the main deal here, in a works of nineties grunge-pop revivalism with a kick-in-the-nuts style that appears to be leading the way in a wave of fearless female punk.

‘We Got It From Here... Thank You 4 Your Service’ A Tribe Called Quest 20 years after their last Billboard No.1, hip-hop pioneers A Tribe Called Quest have reunited for one final album. Released just days after the election of president Donald Trump, We Got it From Here… Thank You 4 Your Service brings back ATCQ’s signature jazz-infused grace to protest the inequalities evident this past year. Fighting hate with love, ATCQ weave in a theme of appreciation for the new generation of hip-hop and for member Phife Dawg, who passed away during production this year. With a lengthy features list spanning Kendrick Lamar to Anderson .Paak, some new life is added to ATCQ’s old-school vibes, proving the rare ability to make a ‘reunion’ album their best performance yet.

‘Swim Against The Tide’ EP The Japanese House Three EPs in and singer/songwriter Amber Bain, the talent behind The Japanese House, is still churning out track-upon-track of gorgeous electronic dream-pop, now benefiting from a welldeserved international backing. With melodically a clearly recognisable influence from clean-pop chart-toppers The 1975, who Bain has spent much of the year supporting on their tour, Swim Against The Tide boasts a love of polyrhythmic melodies, glistening layers of sci-fi synth and stronglycrafted production tricks, all backing atmospherically-toned vocals in a truly first class collection of poignant yet optimistic pop tracks.

‘Two Vines’ Empire of the Sun In 2008, theatrical dream-pop duo Empire of the Sun dropped Walking On A Dream, an awardwinning debut which proved to be your only go-to for heavily-synched psych-pop. Flash forward eight years, however, everyone’s doing it, and with significantly more artistic craft. In the production of their latest effort, Empire of the Sun fail to recognise this change in the industry, making this monotonous blur of over-stylised synth and airy vocals, simply lacking. Single ‘High and Low’ displays a glimmer of the enchantment of previous material, but as one of very few highlights, Two Vines unfortunately materialises into an empty shell of a record.

Keep up with our favourite new releases on our Spotify dropmagazine /newdrops

‘Project 11’ Jorja Smith

At the age of 19 and with no intentions of being tied down to a record label, Jorja Smith bears nothing but her true self on her debut EP Project 11. The neo-soul R&B singer songwriter is making a name for herself this year, with ‘Blue Lights’ securing her a MOBO nomination and even gaining Drake as a fan. Smith strips back from her previous use of heavy beats and focuses on her raw vocal abilities over sensual beats, piano, and jazz guitar. Smith’s distinct talent of storytelling is something reminiscent of Amy Winehouse- reaching the deeper meanings of love and experiences of urban life. While every track holds its own special sound, it’s ‘Imperfect Circle’ that proves Jorja Smith is far from your average singer and that we’ll be seeing much more of her in the coming year.

‘Starboy’ The Weeknd After Abel Tesfaye’s success with Beauty Behind the Madness, The Weeknd has spared no effort for his most anticipated album yet, but this may just be his downfall. With the help of A-list guests Daft Punk and Lana Del Rey, Starboy ditches Tesfaye’s dark, underground style and instead opts for a well-produced, electro, disco track-list. The tribute to the late Prince and David Bowie (the inspiration for the album’s title) is a nostalgic touch that ties in well with his own theme of coming to terms with commercial success, but ironically these lyrics feel produced to be chart-toppers. Ultimately, the over lengthy track-list is only just saved by the irresistible synth-filled, glitzy disco tunes ‘Rockin’’ and ‘I Feel it Coming’.

‘Hamburg Demonstrations’ Peter Doherty In his second album without the creative support of Libertines co-frontman Carl Barat, Doherty creates nothing short of a mature and professional record with Hamburg Demonstrations. As expected from a Doherty record, the album boasts an eclectic mix of styles, but more professionally bridged than his previous works, showing that despite so many years in music, he is still developing and improving in musicianship. A wistful effort away from the chaos of his earlier years, Doherty presents nothing but his vunerable self with supreme delicacy, warmness and a wonderfully intimate lo-fi feel.

ABOUT TO drop. After a string of wellrecieved singles and EP’s, the Reading indierock quartet drop their ‘Youth Is Only Ever debut album Fun In Retrospect’ on January 6th Sundara Karma

‘I See You’ The xx

Four years after their sophomore, Coexist, electronic trio The xx are back with their highlyanticipated third album, out January 13th.

‘Migration’ Bonobo

Electronic mucisian Bonobo, Brighton’s Simon Green, is set to release his sixth studio album with collaborators including Nick Murphy January 13th.

features

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WE’VE JUST COME FROM AVERY REAL

BAC KG R O U N D Supporting The Stone Roses before even dropping their first album, this Stockport quintet have proved set for nothing but stardom. ALICE MORTIMER reports.

f you haven’t yet heard of Blossoms, where the f*ck have you been? The latest hype in indie-pop, Blossoms consist of Stockport’s Tom Ogden (lead vocals, guitar), Josh Dewhurst (lead guitar, percussion), Myles Kellock (keyboard, synthesizer), Charlie Salt (bass) and Joe Donovan (drums), and at the rate their going, they’re going to be the biggest guitar band around. I sat down with the boys backstage at one of the shows of their recent UK tour to talk their number one debut, diverse influences and supporting The Stone Roses. I am escorted backstage to their dressing room by their manager, who opens the door onto the band who lounge around with beers and crisps: “a’ight?”, says frontman Tom Ogden. Taking a seat amongst the boys, and waiting for them to settle down (it’s clear they’re still pumped by the whole touring experience), Tom receives an email to say they boys have been nominated for an MTV EMA Award. “Guys, I think this is a pretty big deal actually”, suggests Tom, but the band all continue their pre-gig swigs like it’s just another day at the office. I’m offered a beer, then cider, then tequila, but politely decline. It’s no surprise, though, Blossoms are used to gaining success after success; their self-titled debut album going straight to number one. “It was surreal more than anything!” exclaims guitarist Josh, “yeah, although when you’re in the eye of the storm it’s less intense than how everyone else sees it, although we didn’t really focus on wanting it to be a number one record really. We just knew we had something timeless, and we thought a lot of people would like it and our fans would really dig it”, adds Tom. But Blossoms’ success kicked off even before their debut, which dropped last August, supporting The Stone Roses at Manchester’s Etihad Stadium. Tom describes his meeting with Ian Brown at their tour manager’s birthday party: “he just tapped me on the shoulder and I was like…. fuckin’ ‘ell!” he continues “He said ‘a’right mate, I’m Ian’, I told him my name and he was just like ‘I know, that’s why I’ve come to speak to ya, I want you on one of our shows at the Etihad’”.

“Big northern eighties love! I bring up the topic of industry pressures with the band, asking if they’ve ever actively tried to create a sound with its own stamp or tried to be experimental, Tom bites back: “f*ck experimental. I don’t want to listen to a self-indulgent thing that’s 10 minutes long! We’ve just come from a real background, and we’re simply producing what we’re proud of from the influences we’ve grown up listening to, and that’s come from a classic pop background”.

Fair enough, I suppose, Blossoms seem to be doing well enough as a guitar band simply producing quality guitarpop, although I do note a clear eighties flair to their sound with synth-hooks. I ask the boys about their influences in producing such a sound, having picked up ABBA, New Order and Arctic Monkeys stylistics within their music: “we’ve all got quite different taste really”, proclaims Joe, Tom continues “but everyone’s into pop so it’s not like I’m trying to fight with people when I’m writing. It’s like, we all like ABBA, but Josh loves ABBA. Joe and I love Oasis, the rest of the band just like Oasis”.

“f*ck experimental!” As well as being compared to more classic artists, Blossoms have been frequently compared to pop chart-toppers The 1975 within a lot of the music press. Interested to see what they make of this comparison, I point this out to the boys. “We’ve met Matt Healy, their new album is not too dissimilar to some of the stuff we’ve done to be fair”, exclaims bassist Charlie Salt, “big northern eighties love!”. Tom points out however that it can be regarded as quite a lazy comparison to make: “like, you know, ‘they’re current, so let’s chuck them in the same mix’. They definitely sound more eighties than we do – we touch on synth sounds, but our guitars have a little bit more attitude”. The boys seem to be a fan of Healy and the band, though, despite his notorious character: “I love how he doesn’t give a f*ck! Have you read his NME interview? Amazing.” When asking what’s next from Blossoms, the band seem pretty blaze about the whole affair: “just more touring!” exlclaims Myles. Support act Cabbage burst into the dressing room to see if the boys want some Kiss-style face paint. I don’t ask, and take that to mean the end of the interview as the band erupt with laughter and begin to congregate into the narrow hallway with Cabbage; it’s clear the boys are having the time of their lives.

Blossoms selftitled debut album is out now via Virgin EMI

Blossoms are back on the road on another UK tour in March after a string of dates across Asia and Europe.

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ODDER SEAS

A S T H E I N D I E Q UA RT E T P R E PA R E

T O R O C K T H E ( A I R ) WAV E S O F 2 0 1 7 . YO U H E A R D T H E M H E R E F I R S T.

WORDS: GEORGINA HEWISON

PHOTOS: MARIA MEMET

“

aving only been around since 2015, and with only two released singles, it’s really quite astounding how Odder Seas are progressing; supporting some of the biggest names in upcoming indie. Described as Wombats-come-Two Door Cinema Club, the band are set to release their first EP in the next couple of months. With an infectious indie-rock sound boasting driving bass, catchy pop hooks and charging melodic riffs, 2017 could indeed be the year Odder Seas truly hit the big time. Showing us around Norwich’s brick lanes and quirky storefronts, the newcomers act as if they’ve been doing this together for much longer. Seated in one of their locals - an intimate room filled with with murals, plants, neon lights and the resident feline - I could see why this was the meeting place of choice for the boys. With pints in hand, we wait for the rain to subside while Oli (rhythm/vocals), Tim (lead guitar), Luke/’Chidgey’ (bass) and Marcus (Drums) chat to us about all things Odder Seas. Hey guys! How’s it been as Odder Seas continue to gain more exposure this year? O: Yeah, great! We’ve been playing more local shows around Norwich recently, which has been great for us, supporting some of our favourite bands on their UK tours.

ODDER SEAS (L TO R): LUKE, MARCUS, OLI, TIM

You’re all final year university students - any changes in the band’s priorities? M: Not really, we’re still focusing on building our fanbase, getting our name out there in any way possible. Our number one priority right now is our E.P, which we’ve been working on for a while now and can’t wait to release. We’re putting more time into it if anything. Odder Seas is what we want to be doing, the future’s a really exciting prospect for us.

How did you guys form Odder Seas and what’s the story behind the name? C: Marcus and I have known eachother for a while, but we all came together at university. M: We found a common interest in music, so forming a band came quite naturally really. T: To be honest we had to pick a name for our first show at Camden Barlfy September last year; we eventually landed on the name Odder Seas and the name’s sort of stuck since then.

Who would you say are your key influences when writing? M: We all grew up on mid 2000s indie rock so bands like The Strokes, The Kooks, Arctic Monkeys have to be big influences on us. More recently I’d say you can hear The 1975, Bombay Bicycle Club and Two Door Cinema Club in our music.

Compare yourself to another band? T: I don’t know what I’d say personally, but often people have compared us to The Wombats and Two Door Cinema Club - we’ll take that!

Lyrically what do you write about and is it all true to life? O: I guess I can’t help but to write about things that happen to me but I wouldn’t say that anything is particularly autobiographical.

Any goals for 2017? M: Much of the same really, playing live as often as possible and we’ll hopefully be able to release as much music as possible throughout the year!

IN THE PUB:

ODDER SEAS

THE

FUTURE’S

REALLY

EXCITING

PROSPECT FOR US”

Who’s the biggest lightweight? M: Based on recent events it’s got to be Tim. But we’ll leave that story untold... Who’s got the worst guilty pleasure song? C: Probably me, it’ll be a Taylor Swift song of some kind. Most embarrassing thing that’s happened to any of you whilst being in Odder Seas? O: Nothing really jumps out, but it’s always annoying when my strings break in the middle of a song nearly every gig. Worst haircut? C: It’s got to be me, again…

Has uni life had any impact on your musical style? How about living in Norwich? O: I’d say that our style musically is just an amalgamation of all our different music tastes really, but I’d say for me life at university has probably been a source of ideas lyrically. C: The music scene in Norwich and at uni is great for the gigs we play locally. BBC Introducing Norfolk have supported us as well which helped us a lot.

Who gets the girls? T: Would have to be Oli and Marcus, both of them being in relationships... If Odder Seas was cocktail, which would you be and why? M: Being students we don’t usually have much money left for cocktails but it would have to be the Chi-Chi, after Chidge!

Tell us a little bit about the gigs you’ve played supported anyone good? T: Yeah, we’ve been able to support some bands we really look up to like Fickle Friends, Clean Cut Kid at the start of the year and Beach Baby recently, which is always a lot of fun.

If you could support any artist, who would it be? C: Definitely got to be Big Narstie or Boy Better Know!

Check ‘em out for yourself @ soundcloud.com/odderseasofficial 11

From the year’s biggest anticipated releases to suprise essentials, we rank our drop. top 10 albums of the year.

Bon Iver 22, A Million

Jamie T Trick

Justin Vernon’s third effort under Bon Iver is the musical equivalent of apple pie; sweet, warm and homely, although not made by your mama. 22, A Million truly shows Vernon as an experimental artist, having very clearly departed from his strictly singer-songwriter days to own glitchelectronics, samples and vocodered vocals. Undeniably gorgeous.

The 1975 I Like It When You Sleep...

RAN

As if we thought T’s talents for hip-hop/punk bangers (and pretty much anything else) couldn’t get any better, he drops the beautiful mess that is Trick. To talk of Trick as an eclectic record would be an understatement; opener ‘Tinfoil Boy’ boasts a shouty intensity, whilst the contemplative ‘Self Esteem’ is vastly acoustic. ‘Power Over Men’ croons an AM-era Arctic Monkeys, whilst the Libertines-esque ‘Tescoland’ is simply perfect dancefloor indie. T is simply the best of everyone.

With such a title, and with a 74 minute, 17 track length, The 1975 were never going to face a completely breezy ride when it came to the dropping of their second album. Very clearly a record based on the personality/innerbeing of frontman Matt Healy, I Like It When You Sleep brings ego yet vulnerability, and populism yet unapologetic pretention. The result, though, a whopping collection of eighties-pervaded pop and postrock, smashing through to the top of charts on both sides of the Atlantic.

Skepta Konnichiwa Having recently sold-out Alexandra Palace, and having made music history earlier this year by winning the Mercury Prize, Skepta’s fourth release was nothing less than a landmark within the grime scene. Hits ‘Shutdown’ and ‘That’s Not Me’ were clear winners having done so well in the charts, but ultimately Konnichiwa is a record full of surprises; despite being relentlessly British and persistently a grime album, Skepta’s effort includes guest production and vocals from Pharrell Williams (‘Numbers’), and a Queen Of The Stone Age sample on ‘Man’.

Glass Animals How To Be A Human

dropmagazine /yearinreview

Indulge yourself in this year’s best and biggest releases.

NKED Anderson .Paak Malibu A refreshing take on hip-hop, West coast rapper Anderson .Paak has flawlessly blended the likes of soul, funk, trap and jazz to back his gospelstyle vocals and love of reflective rhythms. All this results in Malibu as a celebrative listen, although without failing to address his own personal experiences. Tracks such as ‘Put Me Thru’ and ‘The Dreamer’ preach some inspiration it would be safe to say we all needed in 2016.

A record about the characters they met whilst touring their first record, Glass Animal’s How To Be A Human Being is certainly charismatic. Opener ‘Life Itself’ is a straight-up banger, but unlike most albums, the bangers keep on coming through its entirety. ‘Pork Soda’ is rather undoubtedly the record’s highlight as a funktastic pop track, whilst ‘Season 2 Episode 3’ brings videogame sound-effects to a hip-hop beat and soulful melody. The Oxford quartet have truly smashed their sophomore effort.

David Bowie Blackstar

Kanye West The Life Of Pablo

Twenty-five albums into his career and Bowie was still reinventing himself with his final album. Folkpop, ballads, industrial-rock, wonderful showtunes; it all fits quite comfortably into this dazzling record marking the remarkable career and life of one of the industry’s biggest names. He couldn’t have given himself a better send-off; the spirit of this star man will truly live on for an eternity.

Possibly the most ‘Kanye’ Kanye record to date, featuring those controversial lyrics about Taylor Swift…, The Life Of Pablo raids the sample bank of both avant-garde composer Arthur Russell and reggae star Sister Nancy. With collaborations including the likes of Kendrick Lamar, Andre 3000, Rihanna and Chance The Rapper, it was difficult for the album to go too far wrong. The whole thing’s a bit much, but that’s what allows ‘Ye to remain the most interesting man in music.

After a five-year hiatus, major-players Radiohead released A Moon Shaped Pool to critical acclaim. Taking advantage of string sections more than in their previous works, the record maintains a certain vulnerability to it, although still boasts an eclectic mix of textures and styles to create what can only be described as a glorious piece of art. Single ‘Burn The Witch’ makes use of both strings and electronic droning, with Yorke’s falsetto vocal delivering the politically-inclined lyrics Radiohead have never been shy in producing. As brilliant as ever.

Radiohead A Moon Shaped Pool

Being 13

drop’s

N0.

Cashmere Swet Shop Boys ? y h w

This is an album that couldn’t have been more essential this year. Amidst a time of polarising politics, Heems and Ahmed come together as the Swet Shop Boys in a debut LP which captures the political and packs it into satirical bars complimented with urban beats . With clear musical influences from their Indian-Pakistani roots, Cashmere encompasses a wonderful cultural explosion. ‘T5’ is an important track commenting on the discrimination Muslims face at airport security, whilst ‘Shottin’, on similar lines, is a woozy thumper on the particularly current topic of racial profiling. This is rap doing its job, and these are tracks we can enjoy aesthetically, as well as appreciate for their political value.

HONNE WORDS: GEORGINA HEWISON

London Roundhouse

tanding humbly against shining disco balls and monolith neon lights, London-based duo, HONNE, perfectly encompass the romantic 80s dream reminiscent when listening to their debut album Warm on a Cold Night. Despite it being their biggest headline show to date, the presence of mates Andy and James fills a sold-out Roundhouse with an air of intimacy fit to start with mellow - disco track ‘Treat You Right’. It’s this ability to create charm out of simplicity that fits so well with the two producers’ talent. Together, Andy’s swooning, flawless vocals and James’ smooth electro-funk melodies behind the keyboard can’t help but remind me of the effortlessly soulful sounds of Al Green. This obvious chemistry on stage stems from their beginnings as university friends and a shared fascination with Japanese Culture - bringing their name (a Japanese concept of one’s true feelings) and a distinctly dreamy vibe to their music. But, don’t get me wrong- although the boys are singing tenderly of love, they never fall short of excitement. James amps up the rather simplistic ‘All in the Value’ with his impressive guitar solo, and budding singer

JONES makes an appearance for ‘No Place like Home’. Although the highlight of the show is when some oldschool soul is added with a gospel choir. Backing their hits ‘Good Together’ and ‘It Ain’t Wrong Loving You’, the choir is neither kept on the side-lines nor showing up the duo- making their presence a perfect collaboration that embodies the magic that is HONNE’s sound. These two tracks could have easily closed the show themselves, but Andy and James bring everyone together one last time after thanking the crowd and perform ‘Warm on a Cold Night’ under a sea of confetti. Although it mainly fulfills my clichéd weakness for a confetti-filled encore, this last synth-filled funk track proves HONNE’s incredible ability to surpass the quality of their recorded album live. Considering it’s still early days for the boys and their heavy emphasis on production, the balance of quality sound and engaging performance is pretty impressive. Bringing nothing to the stage but genuine love for their music and fans- their performance at the Roundhouse leaves no hesitation that HONNE will be taking on even bigger projects in the near future.

live reviews

honeyblood WORDS: ALICE MORTIMER

am hard struck to think of a better small venue for Honeyblood to deliver their punchy punk-rock than Norwich’s Arts Centre. Housed in the most beautiful fifteenth century church, the Glaswegian duo truly own their, at times gothic, highoctane sound: nineties fuzz-rock revivalism, contorted with a kind of bad-ass girly growl. Opening with the charging riffs of ‘Ready For The Magic’, the two-piece work through a collection of gauzy tracks from both their self-titled debut and their recently released sophomore, Babes Never Die, which dropped early November. What strikes about Honeyblood is their ability to encompass a kicking empowerment without having to appear at all aggressive in their performance; singer and guitarist Stina Tweeddale is vocally sweet, whilst still perfectly executing snarling vocal hooks, undoubtedly the band’s main draw. The show’s highlights include ‘Walking At Midnight’, an almost-gothic mid-paced pop song which really shows off their composition skills amongst a collection of what could be considered franticallywritten belters. Predecessor ‘Justine, Misery Queen’ is another pop track boasting strong

Norwich Arts Centre

musicianship, whilst the breezy ninetiesinspired ‘Hey, Stellar’ sounds like a sigh of relief around the fraught, hurried numbers. The whole set is undeniably lo-fi, with a DIY-feel true to underground and punk genres. But despite their edgy girlpunk style, there is nothing pretentious or unrelatable about the duo - something we often see with such bands who try so hard to be alternative, you’d be hard pushed to catch them even sporting a smile. The band introduce their merch girl at the back of the venue, Hazel, explaining that they often sing her love songs. This results in seemingly an unrehearsed jam of repeated “Hazels”, later in the set showing off a ‘reggae version’, lapped up by the crowd with laughter. Despite the energy of the duo, they certainly take some time to warm up, as do the crowd. The second half boasts the more gutsy tracks, to which they truly seem to own the glorious high-ceilings in the Arts Centre. Babes Never Die favourite ‘Sea Hearts’ bought with it a sudden mosh, its shouty bridge forcing a peak in audience energy - “Hey! hey! It’s just a little heartbreak!” ‘Super Rat’ prides lyrics which really

allow the crowd to get involved in some angsty sing-alongs - “scumbag sleaze, slimeball grease, you really do disgust me!”, whilst set closer, debut favourite ‘Killer Bangs’ is enjoyed with such enthusiasm the venue truly felt awoken with an audacious spirit. Considering Honeyblood consist of just the two of them, the duo produce a heavy sound which echoes grandly in the church. Distorted guitar, use of pedals and strong vocals is the main doing, but Myers’ drumming abilities prove of equal importance, managing to flawlessly switch from backing pop beats to hype-fuelled crashing frenzies at ease and with great professionalism. Simply two friends giving their all in delivering both sexually-charged, empowering punk-rock and nineties grungepop, Honeyblood will no doubt go on to huge successes within the scene, perhaps as a breath of fresh air if they can maintain their down-to-earth aura. It seemed almost impossible to leave the gig without feeling like you could take on anything; and if a performance can do that, then it would be wrong to not greatly applaud it.

upcoming 2017

GRAND WA ZOO This hip-hop trio are bringing back the glory days of 90s hip-hop all while making their mark with their original North West London Style WORDS: GEORGINA HEWISON PHOTOS: RED ROTKOPF

17 17

hile there’s a continual trend of new acts relying on ditching tradition to differentiate themselves, Grand Wa Zoo are content with sticking to their love for old-school hip-hop - and it’s paying off. The trio, made up of founding members Julian and Oscar (Ryo) and featured singer Lili, have recently boasted trending singles and an international festival slot leading to what we see being one hell of a year for these guys. We sat down with rapper Julian to talk all things Grand Wa Zoo, and why this is the act to look out for in 2017. Just by listening to Julian and Ryo trading bars so effortlessly, it’s clear that GWZ had been in the making for a while - “our music journey together really started at 8 years old, sitting in his older brother’s room watching him spin classic hip-hop records” (he even turned out to be their producer, Jamurai). Growing up together with Ryo and eventually meeting Lili at the age of 13, the chemistry is central to what makes the group standout.

“

This connection with Zappa runs deep” Encompassing all of their style and message is their name - Grand Wa Zoo - which came after Ryo listened to a Frank Zappa record. “This connection with Zappa runs deep. His music is unreal, a real genius. We took the name and adopted our own meaning to it, but the fact that it was inspired by Zappa is a reminder to us to never put a limit to where you can take music sonically.” Grand (big) Wa (harmony/peace in Japanese) and Zoo (the world)- it digs deeper than many artists will go - and this is true in everything the group produces. Naturally, this history is reflected in the boys’ deep rhymes, contemplating love and the ups and downs of urban life, complimented perfectly by Lili’s full range of jazz infused melodies. This is a mature style, that is matched with Jamurai’s minimal but punchy beats, jazz instrumentals, and the occasional sample - it’s reminiscent of the golden age of New York hip - hop, but with unapologetically North West London attitude. On asking more about influences, Jay lays it out that “being hip-hop heads, if you really love it you will find yourself studying and enjoying everything that makes it up and here is where you find Funk, Soul, R&B, Jazz, Blues and Rock.”

After releasing their EP Lost For Dayz this year, with ‘Lights Down’ honing Lili’s jazz abilities and ‘One Time’ laying out descriptive flows against a beautiful string hook- GWZ gained some hype. This past year, the group got the opportunity to go to Beijing’s own MTA Festival for a slot alongside acts like Rudimental and Alan Walker - not to mention their own spot on YEMALIVE (a Chinese version of BBC radio1 Live Lounge).

“

you know we had to bring some of the English experience with us!” This trip was unmistakably a turning point for GWZbut Julian appreciates how important this festival was to exposing hip-hop to young people in China, a generally restrictive scene due to government involvement - “the energy was great , it was unreal seeing how this audience listens to live music, the reaction was great even if there was a massive storm just before our set…you know we had to bring some of the English experience with us!” There’s new music, a documentary, and plenty of shows to look forward to, and with Grand Wa Zoo’s bold style and good vibes, I think its safe to say Frank Zappa would be rooting them on this year.

Lost For Dayz EP

Stay tuned @ soundcloud.com/grand-wa-zoo

Discover our predictions for the new yearâ&#x20AC;&#x2122;s biggest names on Spotify. dropmagazine /upcoming2017 20

D M E

CKCL A EN N NA

Far from a teenage cliche, meet the young sensation about to dominate indie-rock Hot new single ‘Isombard’ is out now

aving recently been selected as one of fifteen promising acts in BBC’s Sound of 2017 longlist, it seems as though latest indie sensation, Declan McKenna, could truly be about to hit the big time. BBC’s ‘Sound of’ uses industry figures and a poll of music critics to highlight new talent predicted to dominate music in the coming year. Last year’s nominees included the likes of Rat Boy and Blossoms, with multi-instrumentalist Jack Garratt taking the crown. Despite this year being up against talent such as hip-hop artist Anderson .Paak and The 1975 pal, The Japanese House, there are many reasons why McKenna is in with a decent shot of coming out on top, even as by far the youngest act on the list. The seventeen-year-old is no stranger to winning, best-known for topping Glastonbury Festival’s Emerging Talent Competition in 2015, the year he began his GCSE exams. Shortly after, McKenna signed a management contract with Q Prime (Foals, Snow Patrol), deciding to sign with Columbia Records, after spurring a label-bidding war. But what’s so special about a teenager writing indie-rock? What strikes about McKenna is that he isn’t writing about ‘teenage’ things; there are plenty of young artists out there who can write about their first love, heartbreak or the first time they got high, but McKenna skips all that stuff, not only writing with maturity, but writing about wider issues than his own. His self-released first single, ‘Brazil’, presented a clear criticism of FIFA and its failure to address the extensive poverty affecting the people of Brazil whilst making the decision to award the nation the FIFA World Cup. But this wasn’t just an attention-grabber; his second single, ‘Paracetamol’, also self-released, was a five-and-a-half-minute track on the misrepresentation of transgender teenagers in the media. McKenna’s political-focus does not stop here, his latest 2016 release, ‘Isombard’, covers right-wing news anchors and their suggested justifying of police brutality. And it’s not just been his consistent dropping of thoughtful indie tracks this year, but McKenna’s live successes, having bought his energetic and melodic flair to the likes of the NME Awards, Live at Leeds, Great Escape Festival, Standon Calling and Field Day. To be of such a young age and as such a new artist, it’s really quite astounding how far this Herfordshire lad has gone merely in the space of the year, having also made a North American debut (at Jannus live in Florida), and played the likes of South by Southwest. What’s next for McKenna? Who knows. But it’s most definitely going to be big.

K genre of the month

Thriving off eccentric style, a range of electro-pop, dance, and hip-hop beats, and some seriously impressive dance moves, K-Pop has taken over East and South East Asia - but now itâ&#x20AC;&#x2122;s ready to be front stage in the UK and U.S. Minqi Wang looks into two of K-Popâ&#x20AC;&#x2122;s biggest acts that are making it a genre impossible to ignore.

POP PHOTO: BIG BANG CREDITS: Wikimedia Commons

espite being one of the biggest entertainment powerhouses in Asia from it’s rise in 2000, K-Pop has generally been regarded as only subculture in western countries. The colourful genre, with its beginnings in South Korea, is characterised by a distinct mix of synthesized pop melodies with hints of hip-hop, R&B, rock, and electronic music. But, the real magic of K-Pop comes from the whole audiovisual product - fashion, personality, and choreography are crucial to gaining a fanbase. There’s an emphasis on boy bands and girl groups as the chemistry on and off stage add to the theatrical themes of the genre. Because of this, K-Pop often gets labeled as a teenage fad- but some of 2016’s biggest acts are changing that opinion with some badass attitude. Unlike many boy bands, the quintet BIGBANG have stayed dominant for a decade through experimenting with

typical genres and of course, their individual charms. Originally finding inspiration in hip-hop and R&B styles, G-Dragon, T.O.P, Taeyang, Daesung, and Seungri have created their own distinct sound that keeps you guessing. ‘BANG BANG BANG’ is a heavy club track with EDM and trap roots, but ‘IF YOU’ is a brooding ballad complete with G-Dragon’s soft vocals. Like many other K-Pop acts, BIGBANG has boasted more success in the west due to their mix of Korean and English lyrics and culture - with songs like ‘Fantastic Baby’ full of American references. But it isn’t all boy bands, female acts that destroy gender boundaries dominate the scene- all in fabulous K-Pop style. One superstar in particular is making K-Pop heard in the U.S. with her mesmerizing style and unapologetic lyrics. CL began in Seoul as part of the highly successfull 2NE1, but after going solo, Lee Chae-

Rin has focused all her attention on bringing K-Pop stateside with an attitude like Nicki Minaj and headbanging beats like M.I.A. .To some, CL has toned down her Korean roots with majority English lyrics and collaborations with American artists Diplo and Riff Raff, but her style and moves are something that remain unmistakingly K-Pop. We’re still waiting on her solo debut, but if it’s anything like her singles ‘LIFTED’ and ‘Hello Bitches’, CL is sure to be a worldwide sensation. Like many genre’s we’ve covered, K-Pop is one that has been overshadowed by one-hit wonders like Psy’s ‘Gangnam Style’ in the west, causing audiences to see it as a fad. However, if the determination of BIGBANG and CL, amongst thousands others on the rise, prove anything- it’s that we’ll be hearing plenty more of these amped up tunes, and we’lll be readily lsitening.