Addict
a taste of. .
black honey
@pheebsok
ISSUE #28 FREE THE DEAD FREIGHTS / MYSTIC PEACH / ME TOO / GOAT SHED 1 www.audio-addict.co.uk
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A
LETTER FROM
THE EDITOR On the cover of Audio Addict’s 28th edition is Black Honey. Everything they do fervently represents this issue’s contents. A band befitting Frank Sinatra’s funeral anthem ‘My Way’ to the extent that they’d probably opt for some 70s funk track in its place. That’s the kind of unaffected, freethinking creativity that’s gone into every word, illustration and photograph in this sonic scrapbook.
The Brighton four-piece’s debut album is set to hit the shelves this summer, but that’s all we’re letting on for now as our exclusive scoop awaits you in the magazine’s centrefold. In the meantime, why not peruse the first half and discover the enigmatic Southampton locals Mystic Peach - a group whose power is only exceeded by their mystery.
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We also take a deep look into the music industry’s questionable attitude towards those who have neglected the safety of others, thus inciting the explosive #MeToo campaign. If something light-hearted is your desire, flick through to our recipe for the ultimate band, guaranteed to whet your appetite for a final helping of local talent. The Dead Freights take to the studio looking to break the chains of Southampton’s support slots, and steam into the big-time. For my editorial team, this is issue 2/2 - job done. For our devoted readers, I sincerely hope this year’s reshuffle is enough to keep you coming back to Audio Addict in the future. From me and my editorial team, thank you for your loyalty and enjoy the ride!
Rupert Taylor
DISCLAIMER The audio addict magazine and blog is produced by students on the BA (hons) Popular Music Journalism course at Southampton Solent University. The views expressed in the magazine and blog are the contributors’ own and as such the university and its staff cannot be held responsible.
EDITORIAL TEAM Editor: Rupert Taylor - @0UTATIM3 Features Editor: Maddy Hardman - @PseudoAgatha
Reviews Editor: Andrew Shelley - @A_Shelley11 Designer: Lizzie Capewell - @lizziecapewell
CONTRIBUTORS Josh Abraham, Elisha Cloughton, Daniel Cook, Adam England, Lucas Eveleigh, Charlie Hoar, Jasmine Hodge, Nela Ilic, Connor Mason, Callum McCormack, Hayley Millross, Nada Olson, Catherine Owen, Phoebe Randall, Sam Taylor & Mia Wolo
SOCIAL Facebook: @audioaddictmag Twitter: @AudioAddictMag Instagram: @audioaddictmag
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06.
- Sam Taylor’s inebriated insight into Lady Gaga’s The Fame
28.
08.
- Southampton’s rockers have something exciting in the pipeline
ALCOHOMMENTARY
THE DEAD FREIGHTS
BREAKING THE SILENCE
34.
- Why aren’t musicians being held accountable for their misconduct?
MYSTIC PEACH
- Callum McCormack gives Southampton locals Mystic Peach their first look-in
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36.
ALBUM REVIEWS
42.
QUIZ-SEARCH
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PHOTO GALLERY
- Manic Street Preachers, Bryde, The Slow Readers Club and more...
THE STATE OF...
- Adam England looks at The State of Manchester indie’s dying flame
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THE ULTIMATE BAND RECIPE
- Work out the answers and find them in the wordsearch
- Serving up some band cliches
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- Does the death of the NME foreshadow print journalism’s future?
Contents
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THEIR OWN WORST NME
BLACK HONEY
- Our cover stars tell the long and short of their debut abum
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SOUTHAMPTON SOUNDS
- Connor Mason and Phoebe Randall’s flashy photography
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COMIC STRIPS
- Live music cartoons courtesy of Charlie Hoar
- Three of the best music projects in the city
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FEATURE
ALCOHOMMENTARY IF ALCOHOL MAKES THE TRUTH COME OUT, SAM TAYLOR HAS UNCOVERED ALL THERE IS TO UNDERSTAND ABOUT LADY GAGA’S DEBUT ALBUM THE FAME. UN-SOBER, UNADULTERATED AND (MOSTLY) UNEDITED JUST DANCE - This was the first lady gaga song I’d ever heard and 11 year old baby sam who had never heard of vodka thought this was finer art than a f*cking Picasso. THAT BRIDGE SHE DOES IN THE THIRD VERSE IS WAVEY AS F*CK. WHAT AN ICON!!!!
SAUCY LITTLE MINX GAGA IS! DISCO STICK IS ANOTHER WORD FOR D*CK LMAO. Lovegame is kinda like that meme going round on twitter atm with the caption “11 year me” and a photo of a guy crying with the lyrics to a well explicit song, this song is f*ckng it.
LOVEGAME -HAHAHA THIS SONG IS ALL ABOUT SEX. WHAT A F*CKING
PAPARAZZI -NOW THIS IS A BANGER. This song is straight up
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fire I could light a fag off this. It’s solid, the melodies, her vocals, that weird hip hop/rap shit does in the bridge going into the shouty stuff like mate you couldn’t make that shit up. POKER FACE - MAMAMAMAAA P P P P POKER FACE. I know every word to this song! This song is literally 1000/10 she looks piff in this video, that latex, disco ball mask sh*t coming out the pool WOW mAMA. I wanna play a card game but idk how to play poker face so ring of fire is the only thing I can do which is peak. But seriously this song is amazing, it’s a bop.
BOYS BOYS BOYS - NAH THIS SHOULD HAVE BEEN A SINGLE. This song cemented gaga as a gay icon. I like boys in cars and bars who buy me drinks x. The lyrics are so basic but yet it’s like listening to Mozart.
EH EH (NOTHING ELSE I CAN SAY) Oi wtf has happened here, like tbf her voice sounds like 1000000x better here than it does in the other 4 tracks, so much raw. Even though the backing track sounds like something that would genuinely give me an aneurism if any other artist used it in a track. Hahahah imagine if Taylor Swift tried being gaga someone would have punched her by now.
PAPER GANGSTA -Oooh wow this is synthetic as sh*t, babe no this is overworked. She’s trying to rap but I’m not really here for it tbf. It’s annoying because I still really like this song. She could literally make an album of her screaming and vomiting an I’d be like absolutely yes queen you’re so talented. SUMMERBOY - I’m not sure what’s trying to be achieved here, it reminds me a lot of Hannah montana but I loved that show so it’s not a read. Ok lyrically if Hannah montana sang this it would be v problematic for the Disney channel.
THE FAME - Wow this gives me weird feelings this is so formulaic pop wtf gaga get out the box babe u ok hun x ? I mean yeah everyone wants fame and bare dollar and all that sh*t that comes along with being famous but like did u really need to write a song about it? It’s catchy I can bounce to it but yea not much special, gaga u let us down boo boo
DISCO HEAVEN - What a nice song to tie the fame up with, a perfectly suited to the album which in all fairness is disco heaven. Overall bravo Lady Gaga, your style is one of a kind. You can sell sex and the avant garde to a nun.
MONEY HONEY - M O N E Y. Yeah babe I’m 21 I know how to spell money. It’s good to live expensive? HAHAH babe I know that’s why I’m f*cking skint all the time. I mean this track is alright but like yeah it’s just just dance’s weird little sister that got forgotten about idk.
Words by Sam Taylor @phantxmfear Artwork by Nela Ilic & Lizzie Capewell @lizziecapewell
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FEATURE
BREAKING THE SILENCE THE #METOO MOVEMENT CAST AN UNDENIABLE LIGHT ON THE SHADOWY SIDE OF THE CREATIVE INDUSTRIES, WHERE ARE THE CONSEQUENCES? Following the allegations made against Hollywood film producer Harvey Weinstein, the #MeToo movement gained massive attraction and media attention, sparking crusades within the creative industries to stand up against sexual assault and abuse. Founder Tarana Burke summed up the purpose of the movement via social media, tweeting, “It’s beyond a hashtag. It’s the start of a larger conversation and a movement for radical community healing. Join us. #metoo” The film industry has finally begun taking steps towards helping the victims of sexual harassment by believing their allegations and taking appropriate action against the perpetrators. However, this same chain reaction of cause to effect within the workplace doesn’t seem to be present in the music industry. We wanted to find out why the film industry is leading by example and what the world of music needs to do in order to catch up, and get up to scratch when it comes to believing victims and punishing musicians in the wrong. Although far from perfect, the film industry has been much quicker to enforce consequences. Case and point, when Harvey Weinstein’s sexual harassment allegations were first published in The New York Times and The New Yorker, the producer was very rapidly fired from his company and the accusations were publicised instantly.
Naming and shaming isn’t something that is in anyway ‘brushed under the carpet’ either, but in fact largely encouraged. Hundreds of women, including many well known actresses, took to social media to share their own distressing stories about the harassment that they had each experienced from Weinstein - all of which he has fervently denied - then three of his accusers took to the stage at The Oscars to promote the #MeToo movement and call out the producer. Actor Anthony Rapp accused Kevin Spacey of an unwanted sexual advancement back in 1986 when Rapp was just 14, to which Spacey responded that he did not remember the encounter. Within less than a week many more men had come forward and made allegations against him, despite Spacey’s best efforts to deflect the accusations by coming out as gay. After further accusations of toxic behaviour on set, Netflix terminated their relationship with the actor, removing him from all further productions of the hugely successful House of Cards – however, much of his work will still be available to watch on the streaming service. We understand that other creatives should not suffer because of one individual’s choices, but it’s still a bitter pill to swallow, thinking that Spacey is still earning money and living freely no matter how many ghastly things he’s done.
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Whether it’s older professionals taking advantage of younger employees, trying to make a name for themselves in their chosen career, or musicians using their position of power to have their way with fans (particularly
by different women claiming he had sexually harassed and assaulted them, and engaged in sexual acts with underage girls. Both suits settled for undisclosed amounts of money, once again protecting Kelly’s rep and denying victims seeing him punished for the crimes he allegedly committed. The accusations go on and on, between 2002 and 2005 Kelly went on trial for 33 child pornography charges, however he was later found not guilty. Even last year there were reports against Kelly from an American reporter, Jim DeRogatis, claiming Kelly fronted a ‘cult’ that groomed young girls, controlling them and using them for sexual gratification, he’s since refused to comment. Up until last year the accusations kept coming, but has Kelly received any substantial consequences other than doling out cash to keep his victims quiet? Not that we can see.
“...there are serious, deep-rooted issues in all aspects of the creative industries, including music.” those that are underage), it is clear there are serious, deep-rooted issues in all aspects of the creative industries, including music. Take the example of Glenn Harvey from Moose Blood, he was accused of sexually harassing a young girl and sending inappropriate images to underage fans. It took two years after an initial allegation was made against him in 2015 for the band to make any comment on the situation, finally parting ways with the drummer in March 2017. In those two years, Harvey was still a part of Moose Blood’s successful UK tour and continued to go about his daily life despite the accusations. R. Kelly, with six number one records on Billboard’s Hot 200 chart, is one of the most successful hip hop artists in existence, but his career is littered with allegations of abuse. This includes claims from his ex-girlfriend Kitti Jones, who said that Kelly physically abused her during their relationship, and made her perform degrading sex acts with other women also involved with Kelly at the time. But this was nowhere near the first time Kelly had been accused of morally questionable actions against women; the allegations, laid out one next to another, make for some truly shocking reading. In 1994 Kelly married singer Aaliyah, who was just 15 at the time (despite their marriage certificate claiming she was 18), all of this he has denied. On two separate occasions in 1996 and 2001, Kelly was sued
Why are the giants of the music industry not being held to the same standards as the likes of Spacey or Weinstein? Was it because more people came forward and the focus on sexual assault in the creative industry made it impossible to ignore anymore? Money and power give the rich and famous a get out of jail free card, and sometimes no matter how many victims speak up it can seem futile to wage war against giants. Still, there will always be hope as long as victims have a safe space in which to speak out, something we all have the ability to contribute to. Words by Mia Wolo and Catherine Owen @miawolo @catthetwatblog Artwork by Nela Ilic
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INTERVIEW
IN THE PITS WITH... GETTING UNDER THE FURRY SKIN OF THE PEACHES IS LIKE DRAWING JUICE FROM A STONE, BUT WITH LIVE SHOWS ATTRACTING ATTENTION IT’S GOING TO GET HARDER TO KEEP THEIR MYSTIC APPEAL If your ears are firmly pinned to the ground of the Southampton music scene then you may have come across a small but ferocious band called Mystic Peach, made up of Curtis Gale (Vocals/Guitar), Joe Ingram (Bass) and Jimi Allen (Drums). The three piece have played support slots for the likes of Phobophobes, Spinning Coin and Yowl, and their name is slowly creeping on to more high profile shows across the south coast. However there is a fog of mystery surrounding the band, signed to
“...a rollercoaster of riffs, melodies and superb songwriting”
Southampton label Honeymooner Records, with only a solitary track having been released. ‘Downtown’ is a B-Town infused indie-pop track with an infectious groove that provides an insight into the musical direction they’re eyeing up. “Frustrated bipolar noise” is Gale’s description of the band, which is an interesting take on the atmospheric surf-pop vibe the band portray on stage. Mystic Peach’s musical style is one of thunderous sounds that can move from sweet and innocent to pit-inducing crescendos reminiscent of Holy Fire era Foals. The band come alive when on stage, with all three members seemingly entwined with what one another is doing at all times. The sets tend to be quick, tight and captivating.
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“We got along with George at Eastcote and he understood us, he let us get on with it and didn’t mess around with our sound.”
“I wouldn’t say it was a priority,” was Gale’s response to whether the band had always envisioned a big live presence on stage, “I think it just naturally happens. We just enjoy what we’re doing and we hope it shows.” While the band may be currently plying their trade mostly on the live circuit, 2018 is gearing up to be a huge year for them.
The trio like to keep themselves to themselves to a certain extent, but are all naturally gifted musicians, able to create a riot of noise that immediately makes you take notice. This is encapsulated perfectly with the band’s final song of their live set that, again, is shrouded in mystery. I wasn’t even allowed to know the name! It’s reminiscent of Peace’s ‘1998’, a rollercoaster of riffs, melodies and superb songwriting. When quizzed about his writing process, Gale explains “I come up with the spine of the song in my room, record them on my phone and show the lads. They learn it
The Southampton band stepped into the studio in March with George Murphy at Eastcote Studios in London, the producer having previously worked with The Big Moon, HMLTD and Yowl. “It was a very pleasant experience” said Gale, and with the tracks that have been recorded still under wraps the band were only willing to describe their time with Murphy
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and make it better when we play it in the rehearsal room.” It’s a humble take on the excellent songwriting capabilities Gale has at his disposal, at the same time showing the band’s chemistry. As we sit down and talk, the obvious question rears its head: what are they taking inspiration from? “Cooking books mainly” reveals Gale, annoyingly. As the conversation moved along from the Jamie Oliver lyrics to the band’s sound, they reveal “It changes everyday, I don’t think I can speak for the band as to what we’re personally influenced by, but anything from Pixies to Tame Impala with a sprinkle of Peace”. Not a bad trio to be drawing inspiration from is it? As the interview draws to a close we start to see a bit more of Gale’s humour come out, growing more and more comfortable. “Go to the Andromeda galaxy and Instagram it” is apparently Gale’s dream thing to do with Mystic Peach. Normally bands say ‘play Glastonbury’ or ‘travel the world’ but this isn’t a normal band, it’s a group of friends who are just having fun writing music and playing live. With the band’s sights for 2018 aimed high - releasing a new single early summer and talks of an EP release before the year’s out - Gale’s outlook is more simple: “Stay alive and reach 2019.” Well we can’t argue with that can we?
“Frustrated bi-polar noise””
Words by Callum McCormack @McCormackCallum Artwork by Charlie Hoar @chazzlets
““Frustrated ““Frustrated bipolar noise ““Frustrated 12
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“...anything from Pixies to Tame Impala with a sprinkle of Peace”
FEATURE
O F. . . E T A T S THE
MANCHESTER INDIE REPUTATION CAN BE A CURSE AS MUCH AS A BLESSING. WITH ITS RICH MUSICAL HISTORY, MANCHESTER’S CURRENT SCENE HAS SO MUCH TO ANSWER FOR. TAKE A LOOK AT THE ABSOLUTE STATE OF MANCHESTER INDIE
M
Superfood. It would be a shame to see Manchester get left behind.
anchester occupies an iconic place in the history of music, from The Hollies through to Buzzcocks, The Smiths, The Stone Roses and Oasis, amongst many others. The untimely passing of The Fall’s Mark E. Smith earlier this year left a hole in Manchester music, hammering home that the iconic artists to come out of Manchester are no longer in their prime. The scene isn’t what it once was; Morrissey is still plodding on, and the Courteeners consistently sell out stadiums and arenas in the North, but Manchester badly needs some new life breathed into it. Other cities in the UK have been developing some impressive talent in recent years – London has produced Wolf Alice, Fat White Family and HMLTD, while Birmingham have the likes of Swim Deep, Peace and
Probably Manchester’s biggest saving grace are post-punks The Blinders. Originally from Doncaster, they are based in Manchester and recently embarked on a nationwide headline tour. Their gigs certainly leave an impression, and their releases have garnered a lot of positive reviews. Sadly, they seem to be part of the exception rather than the rule. Spring King, based in Manchester, are also promising and released a good debut album, while Blossoms and their guitar pop are often grouped into the Manchester scene, but beyond these there isn’t much to consider. On the other side of the coin, there is a cornucopia of derivative or otherwise run-of-the-mill artists
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coming out of Manchester and the surrounding area. 18-year-old Rory Wynne, probably best known for supporting Blossoms last year, is a prime example. His music is fairly
“If the next potential Morrissey or Mark E. Smith is reading this, make yourself heard.” unremarkable but not objectively bad – generic indie-rock – and the fairly arrogant stage presence that he has adopted lacks substance; he is not at the level of Liam Gallagher yet. Perhaps we can cut him a bit of a slack as after all, he is just 18. In that case
though, what excuse do Elbow have? They’ve been putting out music for over 15 years now and seem to have made the postKeane, easy listening, alternative rock style their own. Everybody knows ‘One Day Like This’, which is a popular choice whenever a TV need some vaguely dramaticsounding symphonic rock. Essentially, they are successful, but like many bands from Manchester today, not all that interesting. The 1975 and their labelmates Pale Waves have origins in Manchester, despite not really being associated with the city, while fans of grime will be familiar with Bugzy Malone. Nonetheless, compared to years gone by there is clearly a dearth of talent. Even bands like Blossoms and the Courteeners are only really covering old ground, not being as innovative and
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trailblazing as their predecessors. In the 80s and 90s, there was always at least one band from the area at the peak of their powers at any given time, but if any Manchester band can be considered to be at their peak today it is truly a sorry state of affairs. If the next potential Morrissey or Mark E. Smith is reading this, make yourself heard. Words by Adam England @garageflowrr Artwork by Dan Cook @DannoDanCook
FEATURE
The Ultimate Band Recipe
SLIP ON YOUR FINGERLESS OVEN GLOVES AND CRANK THE STOVE UP TO 11. IF YOU'RE CRAVING SWEET JAMS AND CRUNCHY RIFFS, FOLLOW AUDIO ADDICT'S ULTIMATE BAND RECIPE
Method
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Firstly, take a handful of likeminded people wanting to make music – anything between 2 and 5 will do… any more is just Madness
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At this point you must establish a rough-puff relationship between the two main ingredients of the band – be careful not to split the mix as you’ll have measure out new constituents and start again
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Separate the rhythm section from the showman and set them aside for later use in creating the debut album
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Depending on the flavour of your band, create your name using our trusty formula: 1. 2. 3. 4. 5.
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Pop-Punk: “Verb” the “Noun” e.g Whisk the Yolk Indie: Any long winded localised society title e.g Free Range Club Sandwich Club A star with a backing group: “Name” and the “Collective Name” e.g Suzie and the Sous Chefs Millenial AF: Capitalise everything and take out the vowels (replace A with V) e.g BVKRS Hip Hop: Doesn’t matter what they stand for, make sure your acronym rolls off the tongue e.g Nutmegs.With.Attitude
Having completed the previous steps, reintroduce the band members and leave to mature in a local toilet venue. This can take anything from 6 months to a lifetime, depending on the strength of the (raising) agent
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Trim off the fatty material produced in the early days and gather all the raw talent to create a seminal debut album. (Note: this must be strong enough to hold itself up throughout a headline tour and mustn’t be overworked)
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The next step requires a lot of care and patience as most recipes fail here. Remove the group from the rocky road and place them into the pressure cooker studio to form a followup album. You’ll need to achieve a liquid consistency to continue. (For examples of what NOT to do, see The Stone Roses’ Second Coming)
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Assuming your second album sells like hot-cakes, you can now begin to experiment with foreign influences. For varying levels of psychedelia, add mushrooms and bake
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Finally, stir up some media controversy and serve between courses to maintain fan appetites
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Voila! Your journey from acquired taste to ode cuisine is complete. Perform one last grated gig in the sky and store in a cool, dry place (avoid damp conditions i.e Glastonbury)
(Suitable for re-heating at a 40th Anniversary tour)
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Vocalist Your frontperson is the face of the band, so they must have hundreds and thousands of styles in their pantry – from “Flour Power” to “Steamed Punkpkins”
Keyboardist
Every band needs some e-numbers, so this guy must flaunt his passion for tech. He’s not just the keyboard player – he’s the laptop operator and crowd pre-heater, defrosting the bangers and serving the smash
Guitarist
To whisk up the fans your guitarist has to be the eye-candy. Must be wearing tight clothing at all times
Drummer
Beating the sh*t out of skins is sweaty work. This scantily clad hard-worker cares not for his appearance – with thyme, he’ll be heavily roasted under the stage lights
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Words and artwork by Rupert Taylor @0UTATIM3
Original photograph by @voteforpatmore for Something About Magazine
INTERVIEW
HOME IS WHERE THE ART IS
Black Honey
THE TIME FOR “UP AND COMING” HAS PASSED, AS BLACK HONEY READY THEMSELVES TO TAKE ON THE WORLD WITH THEIR DEBUT ALBUM AND FINE-TUNED LIVE SHOWS Huddled away from the crisp seaside mist, filling up countless Nowhere Man café loyalty cards and exchanging tales of their tantalising rise, Black Honey give Audio Addict the low-down on Brighton, “visuals”, and their long-awaited debut album.
development. It’s a hub with so many creative people, whether that’s musicians, artists, or anything else”, starts guitarist Christ Ostler. As the most physically imposing figure of the group, his sweet-hearted nature shines as he muses about a place so dear to their hearts.
Brighton, kooks, is foursome element.
Through her leather-collar and tonsillitis, the group’s enigmatic frontwoman Izzy B Phillips finds her voice. “It’s weird coming back now, feeling like we don’t really belong
with all its weird and wonderful one of the few places this wild could look entirely within their “Brighton’s been massive in our
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allowed the band to make their raucous mark upon the indie scene, establishing themselves as the forerunners of ‘Dick Dale rock’, most likely having gone three years unsuccessfully avoiding the phrases ‘twanging guitars’ and ‘much-anticipated album’. “What you can expect is it’s not what you expect” remarks Izzy with a mischievous smirk. “The overall feeling of the album is frenetic – it goes through an eclectic mix of emotional memories and experiences. There’s a full-on disco feel to a lot of stuff. We did a homage to trap, and then some straight-down-the-line pop.”
here anymore because we’ve spent so long on the road. It’s not our town anymore”. This may be so, as Brighton’s progressiveness begs for a frequent bloom of creative talent, but Black Honey haven’t forgotten that this is the root of their story. “Everything started to feel right. Something felt stable about it”, she reminisces as the discussion veers towards the band’s latecomers, bassist Tommy Taylor and drummer Tom Dewhurst. “I remember an old friend was like ‘You’ve found the best drummer in Brighton’… He’s not even the best drummer in this band” jokes Chris, fulfilling Izzy’s suggestion that the band are just siblings at heart.
“We’re into visuals, I don’t know if it’s the same as having an image”
This information is unexpected at first, though the band have already released so much material they collectively feel as though this is basically album two. “We’ve released about an album’s worth of stuff already” remarks Tommy, before Chris justifies “I think we just want to shock some people. Without making an album, we’ve been doing our thing for a few years now, so it feels like a good moment to change.” Quelling any fears of an altogether new band,
We waste no time in fast-forwarding along the Black Honey timeline to here and now, where the band have something exceedingly surprising brewing. A multitude of singles, EPs and seasoned setlists have
Original photograph by Sarah Louise Bennett @ Dork
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Artwork by Daniel Cook @DannoDanCook
Original photograph by @pheebsok / Artwork by Lizzie Capewell
cinema lens. You know when you’re on the bus listening to music through headphones and it makes your life a little bit more like a movie. That’s kind of like the blueprint of how we build songs.” Unlike the news of their trapstiche, this couldn’t be any more transparent from their early releases; Black Honey’s music is a collection of visually stimulating soundscapes, creating cinematic imagery with every riff, beat and lyric.
Chris continues “I think there are certain tracks you’re always going to have to play. We still love those songs and we’re not disowning them. It’s a new chapter, but it’s still Black Honey.” Amid the stylistic alteration of Black Honey’s upcoming music, there’s no deviation from a theme that ties together everything the band have created; Izzy describes this as “the classic, quintessential overall cinematic narrative. Soundtrack feels. All the stuff that we love.” Familiarisation with the band’s music is also an investment into the silver-screen lexicon used across their entire back-catalogue, substantiating what is so commonly tagged as a group’s image. Izzy responds to this label clinically - “We’re into visuals, I don’t know if it’s the same as having an image. When we write songs, we like to think about things through a
Thankfully, Black Honey’s visuals aren’t exclusive to a mental manifestation. Izzy broadened her creative horizons with the music videos for ‘Hello Today’, ‘Somebody Better’ and ‘Dig’, all of which feature the singer in archetypal Luhrman-meets-Tarantino cinematography, coated in pastel colour palettes and shocking Hitchcockian narratives. “I definitely want to direct a film. I wouldn’t
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Izzy’s jacket by Honey Clothing / skirt by Shopfloorwhore 21
photography by @pheebsok
“When we write songs, we like to think about things through a cinema lens.”
know a thing about what to do technically. I’d have to have a team of producers around me, but in terms of directing I’d be awesome,” Izzy admits without hesitation. “I’m convinced the only reason you make music is to make music videos,” adds Chris. The freedom to make music, if only to make complimentary films, is something Black Honey can heavily attribute to their determined mindset. Izzy makes it clear that Black Honey aren’t the activists of the music world, petitioning causes and heading the charge of the revolutionaries. Instead they do their own thing and stick two fingers up at those who try to hold them back. “F*ck the system, we’re gonna do it our way,” exclaims Izzy. “Our way is the long hard way. It’s the day-jobs way. It’s the long hours of no sleeping way. But this is art and this is how I have fun.”
their favourite festivals, unsurprisingly citing Glastonbury, as well as another more unexpected event. “Truck is a really special one because it was one of our first big festivals. It felt like people actually cared. You do so many gigs where there’s a half decent crowd, but that was like massive crazy sh*t” says Chris. Izzy explains how the build-up to the show was surrounded by memories of rows with friends and Tom dying from a hangover the whole day. “I cried when we finished it,” he says. “I felt like I was never going to finish that show.”
And have fun they do. The band have toured the hell out of Europe alongside some of the biggest acts on the scene including Slaves and Royal Blood. “Everyone we’ve toured with have been fun, but Ben and Mike were particularly fun” comments Tom, laughing about the Instagram stories documenting Black Honey’s tour with the latter of the two bands. One particular show in a Portuguese bullring incites a barrage of memories from the group. “The arena was the most grandiose, hand-painted, most beautifully crafted piece of architecture” remarks Izzy; “We flew in for our first night with in-ear monitors, a new set, our first night on a tour bus, and everything was just… woah” adds Chris.
“There’s a full-on disco feel to a lot of the album” Once we finish the dregs of our tea, the band walk across Brighton to The Breakfast Club where Izzy has just called in to request a photo-shoot space. One could be confused by the adaptable comfort of Black Honey as they flicker between the band’s birthplace and the far reaches of the continent, but this is easily resolved when realising that for Izzy, Chris, Tommy and Tom, it’s about the faces and not the places - in one another’s company they thrive creatively. To pin them down as simply “a Brighton band” would be to ignore that for Black Honey, home is where the art is. Words by Rupert Taylor @0UTATIM3
Bringing the momentous occasions back onto home shores, the band also discuss
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“F*ck the system, we’re gonna do it our way. This is art and this is how I have fun.” 23
FEATURE
SOUTHAMPTON SOUNDS SOUTHAMPTON HAS GOT GRASSROOTS CULTURE COMING OUT OF EVERY ORIFICE. FROM THE UP AND COMING DJ SCENE TO ACOUSTIC SESSIONS, THERE’S SOMETHING FOR EVERYONE
SOLENT SU COFFEE SESSIONS
instruments offering up a beautifully tight set, epitomising what acoustic sessions are all about. Following Aura Blue was Tom Brzezicki, whose acoustic covers lit up the darkened coffee house.
n February we went down to the Solent University SU to check out one of their Coffee House sessions - an event that showcases acoustic sets from Solent students.
With the event looking to continue to exhibit some fine up-and-coming Solent University musicians and bands, the Coffee House sessions can be crucial for young artists to gain a platform: Dawid Kowalski - whose set included covers of Arctic Monkeys, Oasis and Vance Joy - opened the afternoon with his first ever live performance: excellent work Dawid.
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Running for just over a year now, the Coffee House sessions provide “a safe environment for students to practice their performance skills”, says Naomi Fry, the Solent VP for Employability and Engagement. With the bar in the Student Union having recently been taken out, the Coffee House sessions offer up a variety of acoustic covers and originals, in an intimate, cosy setting with all the coffee you can drink, what’s not to love? We had the pleasure of watching Aura Blue, with their haunting vocals on top of ambient
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With the constant threat of live music venue closures looming large, sets that include growing artists looking to establish themselves - or just to have a play to some friendly faces afternoons like Coffee House are becoming increasingly important, for not only the musicians, but for coffee loving, music addicts.
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GOAT SHED
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n the last couple years, the house music scene in Southampton has been thriving, and with the likes of Goat Shed, Astrofunk and Gold School leading the way it is no surprise. We sat down with Adam Slevin, Dan Parsons and Ben Smith to discuss the beginnings and futures of these enterprises. With Adam DJing as a hobby to begin with, Goat Shed birthed from humble beginnings: “I got my Grandad to come and build me a backdrop. Me and three mates on the weekend would just record a set and put it online.” He adds: “It wasn’t till a year after that we did our first live stream, and now it is what you see.” And what do you see now? The live streams offer up an engaging blend of house, bassline and dub all from the intriguing setting of, you guessed it...Grandad’s shed. As well as live streams, the guys truly deliver with their live shows: “Disco Garden has
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provided us with a much bigger platform. Just last week gave us our biggest turnout we’ve had so far, which has made us realise that actually, we do love playing live.” Whilst rapidly growing, a merge between Goat Shed, Gold School and Astrofunk has proven the demand and sheer quality of all involved in this project. The guys admit that Southampton offers “a lot of opportunity,” and it comes as no surprise to see a busy Summer schedule for the team: “We’re playing Budafest in the Summer, at the end of August which looks fantastic, and we’re also appearing at Common People which is really cool” says Dan. For intrinsic beats, unreal vibes and a spectacle of a show, you can find any updates and news at their Facebook pages, here: Goat Shed: @goatshed1 Gold School: @goldschooldisco Astrofunk: @AstrofunkOfficial
“with the first band we were learning, the second band was good, and Wilding, they came in, set up, and were there for about three hours.”
ACOUSTIC AFTERNOONS A
To set them apart from other live sessions such as Sofar Sounds, Acoustic Afternoons tries to give bands “a chance to show us and the audience what they’re really like”, says Catherine. She adds: “We ask them questions that are a bit funkier, like would you rather fight an elephant-sized duck, or 20 duck-sized elephants? They all love that question, it baffles people.” Mia clarifies her stance on the all important question, “I wouldn’t know what to answer to that. But it’s nice, they have the freedom so they just bounce off each other,it’s not like a normal interviewer/interviewee situation, they rarely offer up yes or no answers.”
coustic Afternoons - co-founded by Mia Wolo, Catherine Owen, Rebecca Moore and Aimee Wheelhouse - shows off the up-and-coming talent the UK has to offer. The inspiration behind Acoustic Afternoons comes from the “Radio 1 Live Lounge” says Mia. “When musicians or bands do a cover, we feel it really brings out their personality, but unlike Radio 1 where they play the songs, have a quick chat and then rush off, we wanted to have a big chill vibe, where they all chat together on a comfy old sofa.” How quaint, does that sound?
To keep up date with all Acoustic Afternoons news, visit their facebook page: @acousticafternoonsessions
With already three sessions under their belt in their short life, Acoustic Afternoons have proved a big hit with not only their followers, but with the bands themselves. Their third and most recent band Wilding said after their session: “This is so good, you should carry this on after University.” While they have now found their feet, Mia confesses it’s been a learning curve,
@pheebsok
Words by Andrew Shelley @A_Shelley11
@lizziecapewell 27
INTERVIEW
FREIGHTS AND FRIENDS SOUTHAMPTON’S OWN SLICE OF ROCK’N’ROLL IN A BURGEONING SCENE, ONE BAND CONTINUE TO PROVE THEMSELVES AS ONE OF THE BEST. NOW ACCOMPANIED BY SOME BIG NAMES IN THE STUDIO, THE DEAD FREIGHTS ARE ON THE FAST TRACK TO NOTORIETY FURTHER AFIELD
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t’s all too easy to be cynical when looking at the music industry, from any point of view - upcoming bands, experienced producers, and those that have been on both sides of the desk are bound to have a few qualms with a sector that can be so famously hostile and unforgiving. However, we’ve managed to find some people that would disagree with the
‘doom-and-gloom’ vibe that seems to sweep through the music business once every couple of seconds, in the form of Southampton locals The Dead Freights and their new partners in the studio Jagz Kooner and Pete Robertson. Together, they’re embarking upon a two-track project, and the most serious bit of recording the band have attempted
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THE THE THE THE
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DEAD DEAD DEAD DEAD
FREIGHTS FREIGHTS FREIGHTS FREIGHTS
“They totally had it nailed down, their arragements were consice, they look great...” Charlie, Rob, Robby and Louis, (who often go by any number of other names including Jonny, Spencer, and Frank) make up one of Southampton’s busiest bands. Their approach is pretty traditional, making a name for themselves by gigging relentlessly and taking any opportunity to play a show. “We’ve played everywhere in Southampton,” said drummer Louis Duarte, “...we’ve played in the Hooch and Candy beer shop at like one in the morning.” This mad concept was soon explained to be one of the Freights’ smartest moves, as one year when the band weren’t chosen to grace the Common People Southampton line up, they improvised. “We were just
like, ‘hmm, that shop will be the only place open for people that are coming out of the festival that want to carry on drinking.’” This stroke of genius landed them a memorable night, as well as a beer shop full of new fans that never would have existed if bassist Robby hadn’t blagged their way in. The band exude oodles of charm, and the long friendship enjoyed between Rob and Charlie is often the centerpiece on stage. The duty of frontman is shared by them both, mirroring some of their biggest influences by taking on the Lennon and McCartney roles. Stood amongst the amps in ‘Dead
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Freights HQ; they slipped easily into familiar banter. “We’ve known each other for ages,” said Charlie, only for Rob to instantly come back with “Too long…”. Though it’s not just their innate likability that lands the band gig after gig, their ‘swampy’ rock’n’roll sound is so tight you could walk between two buildings along it. In fact, The Dead Freights’ ability to transform any stage into their own is what alerted ex-Vaccines drummer Pete Robertson (now making music under the moniker Sunan), and acclaimed producer/remixer Jagz Kooner to their presence. “They totally had it nailed down, their arrangements were concise, they look great…” were just some of the hundreds of compliments that accumulate to make almost an hour of interview material from the two producers. Jagz, who made his name in The Sabres of Paradise and The Aloof, is possibly more famous for his production and remixing, with names like Primal Scream, Oasis, Bjork, Massive Attack and Kasabian enlisting his expertise. In his Notting Hill studio - where the Dead Freights added their finishing touches to their brand new double A-side - it was hard to stop his stream of consciousness that flows from him pretty much constantly. “There’s elements of The Libertines in there, the way that Rob and Jonny (Charlie) are bouncing off each other, and the rhythm section’s got elements of Queens of the Stone Age in there because it’s quite driven. The guitar playing is really sharp as well, so there’s a really good combination of sounds and influences and styles that made them unique.” The two newly recorded tracks, named ‘I’ll Wait Up’ and ‘Reasons’, encompass this sound entirely - one being a witty, straight-backed and sophisticated tune, the other a swinging romp complete with ‘bop-shoo-waps’ and everything. Pete Robertson was only expecting a drink with an old friend in London, when that friend
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convinced him to go and hear the band he was managing. “I was definitely not in the frame of mind for absorbing new music at all, but I suppose that shows how good it was.” The Dead Freights’ showcase made a real impact on him, “I saw them in a room playing to like three people - which is just not the way to see a band - but you could tell that they were good.” The Freights refer lovingly to Pete as a “substitute teacher”, while defining Jagz’s eccentric aura as a “mad professor vibe”, leaving the band to fit perfectly in the role of cheeky schoolboys. For Jagz though, it was clear that they weren’t there to mess around, “I mean don’t get me wrong they like to have a great time and they do have a laugh in the studio, but they’re a young eager band, so there’s a lot of learning in it for them as well.” Two years ago The Dead Freights released their only recordings to date, an eponymous EP that allowed the band to show off
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their slick sound, but didn’t do anything mindblowing production-wise. “We just didn’t spend as much time on that, we just recorded it live and bashed it out in about a day,” said Louis, who was gladly taken under Pete’s wing, and worked with him closely to perfect the beats on the new tracks. “I felt well special! I’d never really done that before - it’d only ever been ‘go in, bash it and then fix it in post’, but they knew how to get the sound really good.” Pete, in turn, explained his perspective: “The way I was brought up was on their side of the desk, and the attention to detail I experienced when working with people like Dave Friddman, John Hill or Ethan Johns, it’s so much about your choice of instrument.” For a grassroots band like the Freights, a choice of instruments when recording just isn’t possible, but that wasn’t an issue. “It was a particularly great challenge because they come from a quite
traditional old school background with lack of resources. All we needed to do really was make sure that the sound was as sympathetic to their style as possible, and it didn’t take long really.” The whole band have a real sense of reverence for their new teachers, and Robby summed that up as such, “They really know their stuff man. We were a bit shocked to hear we’d be working with them, cos they’re like the sh*t, aren’t they?” But really the hundreds of gigs and thousands of practices in between more than merit the Freights as deserving of top producers like Jagz and Pete.
before you, that’s the serious energy that’s in those buildings. It’s those sort of venues that are a springboard for everybody.” When speaking to Pete at his local in Winchester, the importance of home never seemed more appropriate, as the conversation turned to The Dead Freights’ identity as a
“We needed to make sure that the sound was as sympathetic to their style as possible, and it didn’t take long....”
“The thing is, on stage is where you learn your craft, that’s where you learn your art, that’s where you get your character building and you start understanding your potential.” Jagz Kooner explained, truly believing The Dead Freights have earned their keep playing the Talking Heads, Heartbreakers and the Joiners as frequently as they can. The live scene in Southampton is full of excitement and history, “The energy of the places, the people that trod those boards
Southampton band, through and through. “When you’re engaged in a scene as much as they are, and the live thing is as important as it is for them, it’s more personal for them. To listen to the Freights on record, what we wanted was the sense of what they are as a live band in the city - which is f*cking great - so yeah I’m excited to see what happens.” Words by Maddy Hardman @PseudoAgatha
Artwork by Jasmine Hodge @ObviouslyItsJaz
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FEATURE
THEIR OWN
I never really liked the NME. As thrilling as it is to read about how many sandwiches Liam Gallagher has eaten on any given day, or that [insert boring indie band here] are going to change the landscape of music forever, I always felt that my generation lost out when it came to the New Musical Express. There was clearly a golden era for the publication, back when people would seek it out to find out what records or gigs were worth their hard earned money, or what bands they were going to fall in love with that week. But the world changed and the NME didn’t – and now it’s dead (ish). In March 2018, after 66 years, the magazine shut down its print operation. It
“This is now the purpose of the album review – to shine light on what would otherwise be doomed to obscurity.”
WORST NME
WITH THE COLLAPSE OF THE NME, THE LANDSCAPE OF MUSIC JOURNALISM HAS CHANGED CONSIDERABLY, TIME FOR A NEW ERA
exists now only as a digital wraith, churning out bland articles whilst the comments on the Facebook page continue to abuse the former titan of music journalism. Even making the magazine free in 2015 couldn’t save it from this fate, but now the question is: who else will share in its demise? Is this an isolated incident, or is music journalism doomed to the internet forever more? First, we have to address why music publications are struggling to survive, and the answer is the rise of the internet. We live in a time now where we can listen to whatever we want, whenever we want. People don’t need tastemakers to direct them in the way that they used to because they can sample any artist on the planet by searching them on Spotify. There was a time when the price of records meant that consumers had to choose wisely, and depended on reviews to make an informed choice, but those times now linger only in the recent past. But this argument is flawed. Sure you can now listen to any song in existence at the click of a button, but is the vast range of choice not daunting? How will we know what to listen to if we didn’t have journalists to sift through the haystack in order to find the gems that lurk in the shadows of the underground? This is now the purpose of the album review – to shine
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maybe the fans are looking for something more authentic, more real. There are so many underground publications and fanzines in circulation all over the world. Southampton’s So Young is thriving, covering bands that few else are talking about. Maybe the death of the NME is a good thing, provided that in its wake the underground fill out the space. We can only hope that the indies have what it takes to fill such iconic boots, and that they maintain their integrity and character. But although the NME fell from grace, it meant something at one time, and I for one am keen to see who will step up to the plate and mean something now.
light on what would otherwise be doomed to obscurity. Another string to the music press’ bow is interviews. The music alone has never been enough to satisfy hungry fans, and what better way to get to know their favourite band than an interview, where a journalist can give them the answers to their burning questions. One might argue that video interviews are more modern way of doing this, but bands have been interviewed on film for years, in harmony alongside printed features. Additionally, interviews are only one component of a successful magazine: opinion pieces, feature pieces and news stories are all key in a well-rounded publication that music consumers will actually want to read. I don’t think print is dead, I mean, you’re reading this aren’t you? Maybe it’s not about the big, corporate magazines anymore,
“I don’t think print is dead, I mean, you’re reading this aren’t you?”
Words by Lucas Eveleigh Artwork by Lizzie Capewell
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ALBUM REVIEWS
Fatoumata Diawara - Nterini
Fatoumata Diawara’s return after her incredible initial release Fatou, is something to rejoice about, especially after the debut album shone so much that it landed her a Glastonbury Festival slot and a world tour. By respecting her African heritage, she sings in neither French or English, and just lets the music do the talking; which is why the single ‘Nterni’ that blends traditional African music with the electric guitar works wonders for the ears. The track is all about two people caught between their love and the distance between them. Exploding into a guitar solo, the love and traditional African percussion instruments show how hard the distance is and it provides a story all told by music, and less by the lyrics. From the slow blues of ‘Kokoro’ to the fast-paced funk of ‘Negue Negue’ it’s clear to see that Diawara loves to experiment within different genres, and it’s exciting to see this
prospect. ‘Bonya’ delivers a more positive vibe, with a variety of traditional and experimental instruments paired with the singer’s incredible harmonies; whereas ‘Don Bo’ is a smooth electric guitar set, where Diawara expresses how she feels through her vocals. Through her music Diawara is a storyteller at heart, and this tale is that this singersongwriter isn’t going anywhere, and this album will blow up, just as her debut did. Words by Josh Abraham
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Manic Street Preachers Resistance Is Futile
Other tracks such as ‘Dylan and Caitlin’ features a different outlook and begins with an acoustic guitar and an uplifting beat. It features vocals from Welsh multi-instrumentalist The Anchoress. The lyrics contrast the positive backing-track with themes of troubles in a relationship: ‘Dylan don’t leave me behind, love has divided and died’.
Four years after their previous record, Manic Street Preachers are back with another crunching, hard-rock album. The Welsh trio, who have fashioned themselves after The Clash and The Sex Pistols, were always nicknamed the ‘generation terrorists’ during the 1990s, due to their left-leaning views.
With a tour spanning the whole of the UK ahead and many festival line ups including Y Not and RiZE, the release of their 13th studio album will share Manic Street Preachers with a new generation.
It seems like perfect timing to backlash the current contemporary political times. Their leading single ‘Distant Colours’ is matched with a music video that captures holding onto those symbols from the past so they don’t become ‘distant colours’. With the video being set in the band’s home of Wales, it is combined with their own history and the theme of national politics.
Words by Nada Olson
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The Slow Readers Club Build A Tower
With great familiarity, album opener ‘Lunatic’ is bold, hoisting a haunting grandeur, whilst tracks ‘On The TV’ and ‘Never Said I Was the Only One’, both have an uplifting feel and a subtle ‘80s style. Emotion seeps through every song within this ten-page sonic diary, but there is something extra cynical about ‘Not Afraid of The Dark’. The lyrics paired with the dark vocals of lead singer Aaron Starkie make for a track that is particularly eerie. ‘Lives Never Known’ is a bare-boned and brutally honest tale of wanting something more than what you have.
The name The Slow Readers Club doesn’t necessarily scream excitement, as much as it faintly whispers that they’re somewhat of an underdog, cast aside by the industry, left to fall through the cracks. However, the musical persona of The Slow Readers Club carries a different ideology.
The Slow Readers Club show signs of combining emotion with enjoyable music, where the band say exactly what they need to, in a style that stays true to them.
The newest addition to their discography, Build A Tower, shows they are more indie veterans than slackers. Since their debut release in 2011, the Mancunian four piece have proved their ability to channel aggression, hurt and loss into menacing yet gratifying music.
Words by Hayley Millross @hayleywhispers
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Crayola Lectern - Happy Endings Persecution Complex’ twist and turn through unrelated instrumental movements, leaving the mind far from a state of straight-thinking sensibility. Certain moments veer towards orthodox; ‘(Don’t) Let Go’ and ‘Secrets’ fitting that bill momentarily, before the latter spirals into theatrical absurdity.
An extension of creator Chris Anderson’s personality, Crayola Lectern is a baffling project confronting morbid issues with an understated reflectiveness. Happy Endings follows on from the Worthing-based artist’s 2013 debut, bringing with it a mismatched sense of fairground avant-garde and haunting British honesty. Every track on Happy Endings procures the imagination of the listener and tangles it into oblivion – like a pocket to earphones. ‘Lingeron’ and ‘Barbara’s
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Understanding the hardships that Crayola Lectern’s life has lugged along the way is part of the requirement to understanding the music borne out of it. Conceptually, this is a visceral, human outlook on the inevitability of death. The opening track ‘Rescue Mission’ unabashedly slams this topic onto the table in the opening moments of the meeting. But, as far as conceptual thinking can take you, the sonic realisation of Happy Endings has just about made it onto the train before being politely asked to leave at the next stop: “I’m sorry, Sir. You’re disturbing the other passengers.” Words by Rupert Taylor @0UTATIM3
Sean McGowanSon Of The Smith
Nestled amongst the growing music scene of Southampton lies Sean McGowan, whose debut album Son Of The Smith challenges the stereotypes of becoming successful despite being from a small city. It’s evident that the likes of Jamie T and The Streets are heavily influential to McGowan’s work, with his sharp tongue and playful lyrics. Opening interlude ‘Mind the Doors’ leads into the first full song on the album, ‘Cuppa Tea’. McGowan’s southern roots are easily spotted within seconds; however he could easily be mistaken for a Cockney. “He looks a tw*t with his arm up his back / walked out by the security geezer” gives this impression, as well as the charming, “...So next time you check your account and you’re a few pound down / don’t be surprised, I’ve just Artful Dodged ya” showing his light-hearted humour and wittiness.
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Other songs including ‘Porky Pies’ and ’Autopilot’ give off the alternative indie feel, with guitarfocused, foot-tapping rhythms, and sing-a-long vocals you can just picture yourself screaming at a gig. ‘Mind The Gap’ brings the album to a close, and is the most Streets-like on the record, but all McGowan’s own at the same time. If you haven’t already had a bevvy before listening to this, you’re certainly going to want to go out and have one afterwards. Words by Elisha Cloughton @elishacloughton
Bryde - Like An Island
The art of the album for various reasons seems to have diminished in recent years - thanks a lot Spotify - so when one comes along and holds its might from start to finish, it’s an excellently exciting time. Welsh-born Bryde’s (Sarah Howells) debut release Like An Island is the musical equivalent to an absolute page-turner. Opening track ‘To Be Brave’ trails into what can be expected to be a routine melodic, subdued album; but when tracks such as ‘Less’ and ‘Desire’ kick in, there’s a juxtaposing vision of the delicate and fragile view that one can expect, and with various upturns on the occasional offbeat, it’s the added grit this album needs.
relaxes slightly, but as a debut, look no further than Bryde and her absolutely dreamy vocals. With tour dates through the end of April and hitting up Europe in May - if you’re reading this in time - the upbeats in Bryde’s debut album are sure to provide a spectacle in any live scenario. Words by Andrew Shelley @A_Shelley11
While the mettle and sheer loudness does amp up the record, the album could use a slight kick start; there are times where it almost
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QUESTIONS 1. Which four cities are hosting Radio 1’s Biggest Weekend in May? 2. Complete the Arctic Monkeys song title: The World’s First Ever ________ _____ Front Flip 3. Which hip hop star revealed her pregnancy during Saturday Night Live in April? 4. Which Boy Better Know member was awarded with a chieftaincy title in Nigeria this year? 5. ‘The Miseducation of...’ whom turns 20 this year? 6. Which aquatic Beatles film is returning to cinemas for its 50th anniversary this year? 7. Queen and The Rolling Stones both have pretty aged guitar players - name the eldest 8. What two words make up the oxymoronic title of Oasis’ debut album?
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43 ANSWERS Belfast, Perth, Swansea, Coventry, Monster Truck, Cardi B, Skepta, Lauryn Hill, Yellow Submarine, Keith Richards, Definitely, Maybe
Wordsearch
PHOTO
PHOTOS BY PHOEBE RANDALL / @PHEEBSOK / DODIE @CONCORDE 2 BRIGHTON 44 31/3/18
GALLERY
PHOTOS BY CONNOR MASON / @CONNORMASON44 / JAKE BUGG @ O2 GUILDHALL 45 11/3/18 SOUTHAMPTON
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Artwork by Charlie Hoar @chazzlets
WORK IN THE MUSIC MEDIA INDUSTRIES? I ALRE ADY DO.
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