Audio Addict #6 2011 by Audio Addict

Audio Addict

Audio Addict is produced by students of BA(Hons) Popular Music Journalism course at Southampton Solent University. Views and opinions expressed in this magazine are of individual students and not necessarily representative of the University. Southampton Solent cannot be held responsible for the individual views in this magazine.

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NEWS KELLY O FINDS NEW MAN After recent lashing outs at her ex-fiancée on Twitter, Kelly Osbourne has chilled her beans and found someone new. Her recent man lover got the Internet beating of a lifetime, when she proclaimed on Twitter that he had cheated on her and what not. But has swiftly changed her tune, posting updates saying, “It’s amazing what you find when you are not looking,” and “I’m the most content I’ve ever been. I feel like

I’ve got a second chance.” The Daily Mail have described this new lover as, “much more bookish and old-fashioned”, but little do they know, he is the singer from Bedford based, party-rock band Don Broco. Old fashioned and bookish are the last things this chap seems to be.

boyfriends, alas, Rob Damiani is clearly man enough for her. Words: Tara Perera Photos: DevilPR

The band have been around for a couple of years, and aren’t really on the same status celebrity wise as Kelly’s other

CASEY JO-NO-MO’!

We Hope It’s Not Your Last Hardcore-punk band Casey Jones has dropped the crushing bomb that their upcoming release; I Hope We’re Not The Last will be their last. Originally starting as a side project for Evergreen Terrace frontman Josh James, the band has managed to thrash out eight years of amazing hardcore tunes.

After tweeting “Today we start recording our new record!” in September 2010, Casey Jones indulged fans with a quick taste of what’s expected of the new album in after uploading ‘Hammer the Nails’ to their MySpace account. Undoubtedly proving that no corners have been cut with this album and the intense hardcore breakdowns, gravelly vocals and ‘unconventional’ song titles (‘If James Hetfield Can Stay Straight Edge, Anyone Can’) have remained flawless as ever. If ‘Hammer The Nails’ is anything to go by, this album will definitely not be a disappointment, the guys seem to have gone back to their roots and mashed in perfect punk carnage, to the forever Audio Addict

loved straight edge lyrics. Almost five years since The Messenger was released through Eulogy Recordings, (who had also previously signed Set Your Goals) Casey Jones has decided to turn I Hope We’re Not The Last into a self-release. Of course with any new album a release, a tour comes hand in hand. The guys are set to hit up America with a tour along with Death Before Dishonour, The Mongoloids and Hundredth but it’s yet to be seen if Casey Jones have any plans to grace the UK for a tour, we can only keep our fingers and toes tightly crossed. Photo: John Hatfield Words: Jess Irwin

KILLSWITCH DIS-ENGAGE Given the recent departure of Killswitch Engage vocalist Howard Jones and due to guitarist Adam Dutkiewicz’s recurring back injuries, the band has been on hiatus from recording after the release of their second self-titled album in 2009. During the time Dutkiewicz was unable to perform, he had been writing new material for his new musical endeavour, Times Of Grace. Although much of the writing was done during his stint in hospital, Adam D, along with former KSE vocalist Jesse Leech began recording for Hymn of a Broken Man in 2008.

Knowing the material wouldn’t be a Killswitch record, Dutkiewicz said, “It was the most personal thing that I’ve ever been involved with; it’s literally like my guts, my lyrics.” Continuing, he said the themes portrayed in the lyrics were based on a lot of the stuff he went through, that it just came out of him that way. As Leech then followed by saying, “There’s no room for the cape.” Musically, the band says that if you’re expecting straight metal, you’d be wrong. Leech says they combine, “an epic mix Metal/Rock/Pop/Shoe gaze and Punk, we’re pushing Audio Addict

genre boundaries.” Having both members on vocals, as well as Adam D on his usual guitar, or behind that fabled, ‘heavy drum kit’. Thus mixing melodic harmonies as well as the brutal screams that Leech built his reputation on; “I was literally shaking as they came out of my stomach. Set for release on January 18th 2011, this heavily anticipated album looks to set its crosshairs on the masses, to Killswitch fans and foes alike. Photo: Roadrunner Records Words: Ben Radcliffe

2010 2010 was a great year for new music, and the writers here at Audio Addict give you a few albums they thought deserved a special mention and some to look out for next year. PAUL SMITH - MARGINS lyrics have won the hearts of The production lets the album BILLINGHAM RECORDS many a young music fan. down at times. The blatant over Words: Dan Wallwork use of reverb is hard to ignore. Bursting on to the music scene in 2004 with Maximo Park, Paul Smith’s energetic performances and brand of honest and insightful

AS I LAY DYING THE POWERLESS RISE METAL BLADE RECORDS Words: Ben Radcliffe Killswitch received got some credible competition earlier this year with the release of As I Lay Dying’s devastating new album, ‘The

Released on his own label, ‘Margin’s was co-produced by Andy Hodson and features contributions from Field Music’s Peter and David Brewis. ‘Margins’ delves deeper than the bubbly three minute pop portions Smith has become synonymous with.

Powerless Rise’. This is the first studio album since 2007’s equally deafening ‘An Ocean between Us’ both co-produced by Killswitch Engage guitarist, Adam Dutkiewicz. Now given Adam’s world-renowned perfectionism, he of course lends a great deal of knowledge and skill in this album and like with KE, they pull off their unwavering live sound in the studio.

Layers of echoic vocals and multiple guitar layers like in that of ‘The Tingles’, can clutter the record at times. As cliché as it sounds, ‘Margins’ feels like a fine wine, that will only get better with age.

As well as obvious influence from Adam D, vocalist Tim Lambesis channels his inner Howard Jones. This gives songs like Anger and Apathy a much more aggressive edge than heard on their previous albums. Fans of the band don’t need to be told to go and buy this but those of you who haven’t, your album collection won’t be the same without it.

SAGE FRANCIS - LI(F)E as experimental and diverse from the other side of the fence ANTI- as humanly possible. While including Death Cab for Cutie’s Words: Peter Smith Sage Francis has always been Chris Walla, as well as the more Last year Sage Francisreleased his fifth and perhaps most experimental and diverse album so far; and this from a man known for his desire to be

problematic to categorise, each album has been distinctly hiphop, but this latest offering, Li(f) e, is more of an indie album with the addition of Sage Francis’ unique poetry. Most of the album is live recordings and collaborations with personnel

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usual names like Canada’s Buck 65. Sage Francis’ music has always had a lot in common with the American indie scene, but now the symbiosis is complete and this album isn’t just a good experiment, it’s the best music he’s made so far.

2011 JAMES BLAKE - JAMES BLAKE debut, including a mesmerising contemporary, adding his own R&S cover of Feist’s Limit To Your vocals to futuristic dubstepWords: Tom Quickfall Love, have already won over type productions, and the range Previews from James Blake’s upcoming self-titled a l b u m

the critics. The hype has even spread as far as the BBC’s Sound of 2011 shortlist, with the young vocalist/producer eventually coming in runner-up behind Jessie J. Blake’s sound is

DANGERMOUSE - ROME - a mash up of The Beatles’ White LEX RECORDS Album and Jay Z’s Black Album Words: Lewis Belcher he has ceased to rest. When does Brian Burton sleep? The man known to many as Dangermouse is a workaholic. In the 5 years or so since he became one of the most famous bootleggers of all time with his widely revered ‘The Grey Album’

IMMORTAL TECHNIQUE - THE MIDDLE PASSAGE VIPER RECORDS Words: Peter Smith Technique reached new heights in 2008 with his third release, The 3rd World and he plans to

Rome, an album inspired by the soundtrack of iconic 60s Italian cinema, is his latest project. Working alongside Daniele Luppi, a man who has scored films such as Under the Tuscan Sun and roping in the substantial vocal talent of industry heavyweights Norah Jones and Jack White, the album is set to glimmer with the star quality that has underpinned complete the series with his fourth studio album, The Middle Passage, due to come out some time in 2011. The man has been busy in between sesions in the studio, concentrating on charitable projects such as the orphanage in Afghanistan that

shown across his EP releases and the Limit To Your Love single hints at an ‘album of the year’ in the making.

Burton’s previous work. Alongside this wealth of vocal talent, Burton, to retain authenticity, has drafted in original musicians that have played on classic Ennio Morricone soundtracks including, amongst others ‘The Good, The Bad and The Ugly’. Due for release on the 14th March, the album signifies 5 years of work coming to fruition and is set to be as stunning as a Tuscan landscape.

3rd World helped fund. This is

sure to be as provocative an album as ever, and with his profits shared between rehabilitation work and farms in Latin America it’s almost a moral obligation to buy this album.

VAN HALEN - TBA fourteenth album by Van Halen. still unknown. All we know is that WARNER BROS It’s been 25 lengthy years since there will be a plethora of Van Words: Ben Radcliffe the original line-up, including Halen fans stampeding towards This year is set to see the release of many great albums, one of which being the long-awaited

David Lee Roth, have performed together, let alone recorded together. The musical direction and release date of the album is

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those racks to get their grubby hands on this new release. But to be honest, they’ll probably just download it.

FARRO BROS TAKE A HIT AT HAYLEY AND LEAVE THE BAND

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ittle girls and boys all over the globe’s hearts broke as the news flooded the net that the Farro brothers, from Paramore, decided their time had come and left the popular God-Pop-Punk band, and not under the greatest circumstances. The statement that guitarist, Josh Farro released via his BlogSpot tells the tale of how the band truly began and was capitalised by overbearing parents and management. Shoving Hayley into the limelight and pushing the rest of the boys into the background. He begins by telling all that the band started as just a simple garage group that wanted to make music for the love of it, and gathered members accordingly, finishing with Hayley being adopted into the family. However, as time went by, things started to change. The whole shebang became more and more about their leading lady. Farro says, “She had a manager at the time that controlled her every move along with her parents. They didn’t like the idea of Hayley being in a rock band so they forced her to leave wanting her to pursue a solo career.” But as she had left, she came back, asking to use songs they had written together and eventually, the brothers were asked to join Hayley and were invited back into the band…the band that they

created and that she had left. They were ordered to leave the lasting members, and Hayley and her management brought in new talent as the previous musicians weren’t deemed good enough to their standards.

“So far, Zac and I haven’t signed with another label, although I guess our part of Paramore sure could. Next thing we knew we were having a signing party for Hayley.” The story goes on to say how the rest of the band would be told to wait in hotel lobby’s, expecting to be producing showcases alongside Hayley, when in fact her and her manager would go off for hours at a time, doing these things without the other members. “After many meetings between Hayley, her manager and the labels they decided to sign her to Atlantic records. We didn’t understand why Hayley was the only one signing the contract since we were told this was a ‘band’. But we were too young to grasp all of this. So far, Zac and I haven’t signed with another label, although I guess our Audio Addict

part of Paramore sure could. Next thing we knew we were having a signing party for Hayley.” After a variety of almost-splits, booting members out and then dragging them back in, the band recorded Riot, toured relentlessly, built their fan base and 2 years down the line, they had a break, beginning to write Brand New Eyes. Eventually, the stresses of being in a band, on the road constantly and away from their families took too much out of the boys, and they felt they had to leave. They left their statement with wwthis ending: “After a lotta prayer and counsel, Zac and I came to the decision that it was time to leave the band. We truly feel that God is leading us elsewhere and is going to do great things with us. The intention of this statement was not to belittle or disgrace the rest of the band, it was simply to clarify our decision for leaving and our desire to finally tell you guys the truth. We are still hoping to work out a friendly way to leave our part of Paramore intact with the remaining band members, including Hayley.”

Words: Tara Perera Photo: Fueled By Ramen

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e are Scientists talk European masturbation, wearing make-up and being their own boss with Dan Wallwork. Sitting waiting in the Pyramids Leisure Centre in Portsmouth, Keith and Chris burst through the door sporting their retro high tops, messy hair and spray-on jeans, carrying nothing but bottles of Peroni. Only months after saying they were done with touring for this year the pranksters return with the ‘American Barbarians’ Tour. “We said that to bait just to promoters”, bassist Chris Cain remarked. “As soon as we said we weren’t gonna tour, the offers came flooding in”. The California based three-piece have been busy this year having completed both a US and mainland European tour in addition to the UK festival circuit. The band admitted they’d had fun touring, “We’ve suckled margaritas in Texas, old fashioneds in Vienna, old fashioneds in Paris, erm and in Germany... I think we had a couple... so it’s been great to say the least” Fans of South Park will understand this seemingly harmless statement as a reference to masturbation.

“We’re slutty yet refined; we are of the higher class call girl variety” So, why is it that the American band is so popular over here in the UK? Audio Addict

“We’re slutty yet refined; we are of the higher class call girl variety”, Keith states. “We’re not like the kind of call girl you get here in Portsmouth...” Chris chuckles. Countless appearances on British TV and radio over the past five years have done nothing but contribute to the bands popularity. I mention their spot on Soccer AM back in 2008; the two then continue to have a five minute discussion about football. At this point it’s clear they have no idea what they are talking about... Keith talked of how he supported the “Birmingham

Thrusting Tigers” and how he knew all the players like “Steven Sanchez’s and his quantite throws”. If Sky is looking for pundits, they have to look no further than Keith Murray and Chris Cain.

“We really just wanted to go back to playing as a three-piece. It’s more fun and lends it’s self to being more rambunctious”.

Released in June, their third studio album ‘Barbara’ was compared to their debut outing ‘With Love and Squalor’ for its raw live sound. Keith insisted that this wasn’t done on purpose. “After being on tour with ‘Brain Thrust Mastery’ for two years with four guys, we really just wanted to go back to playing as a three-piece. It’s more fun and lends it’s self to being more rambunctious”. And, just like these guys, fun it is. ‘I Don’t Bite’ and ‘Jack and Ginger’ put you back five years, reminding you of tracks like, ‘The Great Escape’ and ‘In Action’ Their trademark trashy, simplistic sound is back with a vengeance on their third album. The guys continued an admitted to preferring the “trio versions” of the ‘Brain Thrust Mastery tracks live. “Turns out we never needed that fourth man anyway...” Initially ‘Barbara’ was meant to feature multiple drummers, but former Razorlight beat keeper Andy Burrows ended up playing on the whole thing. “I’d known the guys for a couple of years now and when they asked me to do it, I though yeah why not!” Burrows stated. However, Burrows is not a permanent fixture in the band, playing only occasionally; this year’s Glastonbury being the most recent. Drumming on the current tour is Danny Allen, who is a temporary

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loan from Aussie based band ‘Youth Group’.

Stop’, ‘I Don’t and ‘Nice Guys’,

Regrettably, the band was dropped from EMI/Virgin last November, but that clearly hasn’t affected their spirits. Declaring they enjoyed the fact that being their own bosses gave them more freedom to do as they pleased. “We’re so streamlined, Master Swan Recordings is literally sittin’ right in front of you”. Chris acknowledged that this meant they were “more cost conscious” with ‘Barbara’ as they were funding everything themselves. “We were quite upset with how much everything cost!” Keith remarked.

“If we didnt goof around as much our music would have been taken more seriously...”

After releasing three singles from the album; ‘Rules Don’t

Bite’

Chris doubted they would release any more tracks. They talked of wanting to put out ‘Pittsburgh’ as a single but claimed the powers that be “chickened out” because they were “scared of putting a tender song on mainstream radio”, they think people don’t have feelings or emotions. Keeping the banter alive, Chris jokingly decided on the spot “Fuck it, yeah we’ll release Pittsburgh...

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because we can” and then claimed I was partly financially responsible for it! Known as the pranksters of the indie scene, Chris admitted that if they didn’t “goof around” as much then their music might have been taken more seriously. He then sarcastically added, “If we wore make up and had nice hair we would’ve sold more records than Franz, Kaiser Chiefs, Bloc Party combined”. However it’s this tongue and cheek and friendly banter that make We Are Scientists who they are, subtly putting two fingers up to the try hard rock star wannabees of today. Photos: Hannah Mesquitta & Ollie Millington Words: Dan Wallwork

he government has let us down, U2 have set aside saving the world to proceed in a musical version of Spiderman and Bob Geldoff is no where to be seen. Unfortunately we’ve been stuck in a whirlwind of broken promises, so what is it that we have to save us this time? Do we finally have some sort of hope in a musical form? Rhetorical questions are coming to an end as Enter Shikari head out with a new message that is proven to give us something to believe in…finally. Music has always had the power to make a change,

especially when it comes to ‘sticking it to the man’. Whether it’s filling a stadium for poverty, or knocking X-Factor off the top spot, music always seems to prevail. Enter Shikari front man, Rou Reynolds recently posted a video on the bands website performing a track dedicated to bringing British troops back from Afghanistan. Of course we’ve seen and heard it all before, but what is it that entices us to pay attention to causes and politics as soon as the point is set alongside a few chords and vocals? Is music the best way to grab the attention?

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“It’s one of the best ways”, explains Reynolds. “We’re not saying anything that isn’t more than common sense and we like to make sure we’re getting these points across”. Although individuals are set out to sprinkle the world with their rock and roll fairy dust, there is always a chance of efforts being thrown back in their faces and being deemed as ‘preachers’. “Some people are set in their ways”, declares Reynolds. “We want our music to leave an impression and if people really think about it, we’re not preaching at all”.

‘Everything, especially in mainstream music, is kind of soulless and pointless’ The band was seen out in full force in October for the London march to support the troops, with more than a handful of fans. “Music is supposed to be aggressive and passionate”, says Reynolds. “Everything, especially in mainstream music, is kind of soulless and pointless”. Controversy is

always close behind cases such as this and with Enter Shikari, quickly entering the same political boat as the greats such as Green Day and U2. Reynolds is quick to state, “We’re not preaching. There is an incredible imbalance in music, we’re trying to rectify that”. The band was recently honored to win an award for a track included on the bands latest album, Common Dreads entitled, ‘Fanfare For The Conscious Man’.

on to reach a certain party, this remains extremely important to Reynolds. “When you play a show, people pay to have something said to them. We take this very seriously”.

StopWar.org accounted that the band had won ‘Best stop war song of the week’ back in October. Lyrics are counted

Photos: George Dixon

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All in all it seems once again music is being used for the greater good and as a sense of free speech for fans and individuals globally. Luckily, we’ll always be able to count on a melody or two. Words: Jessie Rose

The first time you would have seen You me at six would have been in 2007 supporting alternative band, Fightstar. They have since grown into one of Britain’s most loved pop ‘rock’ bands with achievements such as nominations for Best British Band three years in a row with Kerrang and have peaked into the UK’s top 40 album chart. You me at six have come such a long way since their days as an unsigned band only a few years ago compared to seeing them now. With a huge fan base, the band is gearing up for supporting world famous punk rock band, Blink

182. Currently on their ‘Hold me Down – Part Two’ tour, we were lucky enough to catch up with Max and Chris before their show in Bournemouth. The band came together in 2004 when front man Josh Franceschi and guitarist Max Helyer decided they wanted to create a new band after previously being in one together. The two of them then met bassist Matt Barnes, who fortunately lived a few doors down to guitarist Chris Miller. Then, of course came their now drummer, Dan Flint. The band spent at least ten months of a year touring

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nonstop for four years. They were desperate to get their name out there. “I just think it’s been down to a lot of hard work and commitment, we’ve really put ourselves out there you know?” Helyer says.

“Going on tour with your idols is mad...” They have supported bands such as Paramore and Brand New, as well as performing at various festivals such as Download and Reading. In 2006 the band released EP; We know What it’s like to be Alone, which contained

songs such as ‘Save it for the Bedroom’ and ‘Promise, Promise’. Which gave the band a lot of media attention, mainly from the likes of RockSound and Kerrang. In 2008 You me at six released Take off your Colours with Virgin Records, taking the 25th spot on the official UK album chart. Then, early 2010 saw the release of Hold me Down, an album really made a noticeable stamp for the band with such great reviews from The Guardian, Kerrang and NME. The album also managed to get to number 5 in the UK album charts.

The obvious question to ask the guys was of course about their exciting news of touring with Blink 182 in July. Miller and Helyer explained how they were their idols and are so excited to be touring with them. “Going on tour with your idols is mad. I mean we grew up listening to Blink. It’s insane just knowing we’re going to be part of that every day of the tour.”  The tour is cutting close to ending right in time for Christmas, a well-deserved break for the boys, bringing an end to a pretty hectic year for them. “I think it’s going to be a lot of family time, because

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next year is going to be another mental year! It looks like we’re going to have no time off as it is”, Helyer says. All he wants for Christmas is a new pair of shoes!   You me at six have developed and progressed so much over the past four years. Hold me Down saw them opening up to a new dimension, both lyrically and musically; accompanied by strong guitar riffs and compelling, personal lyrics. But what’s next for the band?

Photos: FOBPanicFan Words: Sophia Roberts

FRANK TURNER GUILDHALL

SOUTHAMPTON 07/12/10

s 2010 came to an end, Frank Turner had graced the cover of Kerrang magazine, played Wembley with Green Day, headlined a festival for the first time, had critically acclaimed performances at all the major UK festivals and is currently on his biggest sold out UK tour to date. What could go wrong? Losing your voice 7 days into the tour….

Frank Turner, the songs are heavily reliant on the singer being able to weave tales with his words. Frank’s voice just isn’t up to the task tonight, but it’s hard to slate an artist for trying to give his fans everything he has; actively encouraging as much crowd participation as possible in attempt to make up for the lack of depth his voice is able to provide.

Frank Turner is a sick man. But this after all, this is about as close as Mr Turner will get to a hometown show - even his mum is in the crowd. So the show must go on.

Frank storms through an understandably shortened set of his hits: songs like ‘Poetry of the Deed’, ‘I Knew Prufrock Before he got Famous’ and new single ‘I Still Believe’ make early appearances, with the crowd screaming all the lyrics at the

The real problem is that for a singer song-writer such as 18

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top of their lungs. The frantic start to the show makes it hard to imagine that the pace can be kept up for long. The obviously shaken but still smiling (as always) Turner tries his hardest, but as the set goes on his voice suffers. Songs such as ‘Reasons not to be an Idiot’ and ‘Long Live the Queen’ just don’t pack the same punch they normally would. Frank almost seems resigned to the fact he will have to take a back seat to the crowd sing-along. Not that his ever loyal fan base seem to mind one bit. When set closer ‘The Road’ comes around as the 14th song of the night’s set, it’s with a weary smile and to rapturous applause that he

LIVE REVIEWS leaves the stage. He would be forgiven for not returning for the standard encore. Lesser musicians would not, but Frank Turner is a showman, if nothing else. Not only does he return to the stage, but he returns alone, without his backing band. Obviously pushing the limitations of his vocals as they far as they go, he performs ‘The Balled of me and my Friends’, the closing track of his debut 2007 album Sleep is for the Week. The crowd are almost grateful that his

backing band and support acts for the night return to the stage for closing track ‘Photosynthesis’ to help take the strain off his voice. While not technically the greatest show you will see Frank perform, tonight is special just for showing how much heart he really has. If there is any justice in the world, his voice will be the voice of 2011. Photos: Tara Perera Words: Rob Dahl

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dj shADOW (Kind of...)

KOKO LONDON 19/12/10 Photos: Aidan Larkin

Introducing play DJ Shadow’s Endtroducing: Re-envisioning a Classic.

“Today is a special birthday,” Introducing front man Ollie Grig tells a sold out Koko, “DJ Shadow’s Endtroducing, the reason you’re all here, is 14 today”.

By the time opener ‘Building Steam with a Grain of Salt’ had reached its scattergun drum break, replicated beat for beat in its complex entirety by drummer Mike Reed, it was clear that this was a project of dedication and reverence for a highly influential album. The hypnotism of ‘What Does Your Soul Look Like (Part 4)’ had heads nodding metronomically from the band to the back of the crowd, semi-psychedelic visuals projected onto the huge wall behind the stage.

Introducing is a project set up by guitarist Matt Derbyshire to recreate, in full and in chronological order, Shadow’s eponymous 1996 debut, trip-hop/ instrumental hip-hop classic Endtroducing..., the first

Endtroducing was never designed to be played live in this linear form, and the slower songs towards the end of the tracklisting, such as ‘Midnight in a Perfect World’ and ‘Napalm Brain-Scatter Brain’, had the crowd drifting

14 years on from its release, half-band half-art project make sure that Endtroducing isn’t left in the shadows...

album ever to be produced entirely from sampled music and sounds (as recognised by the Guiness Book of Records). Derbyshire and his band have meticulously transposed the whole thing on to live instruments, making this performance more of an exercise in artistic juxtaposition than a gig.

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Words: Tom Quickfall off slightly. In this respect, the band’s faithfulness to their original blueprint was working against them, and they shrewdly turned closer ‘What Does Your Soul Look Like (Part 1)’ into an uptempo breakbeat jam. As a huge fan of Endtroducing and all that it bred, the evening was nostalgic; a yearning for a time when beats were this hypnotic and atmospheric. As one satisfied fan put it on their way out, “that was pure reminiscence therapy”.

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DEADMAU5 Last Christmas came a little sooner, at least for the fifteen thousand fans of electronic music who gathered on 18th December at London's Earls Court for what was to become a dance music event of the year. On the last stop at his biggest UK tour to date, Deadmau5 became the first electronic artist to headline the legendary venue with a fantastic support from Zane Lowe, Magnetic Man, Stanton Warriors and Kim Fai. Best known for his mind-

EARLS COURT LONDON 18/12/10 Photo: Drew Ressler

blowing live shows, mainly thanks to a giant mau5head and a LED cube providing staggering visuals, the dance titan didn't disappoint. Not only did he rock the crowd with all time classics ‘Ghosts N Stuff' and ‘Strobe’, but he also astonished with some more unexpected gems. The first tones of ‘I Remember’, a collaboration with Kaskade vanished in shouts of excitement as the crowd showed their approval and ‘Arguru’ was played on Audio Addict

Words: Veronika Mihalkova deadmau5's 'new toy' - a selfinvented giant touch screen on a stage isle in the centre of the hall. Latest album 4x4=12 naturally had a strong representation. During ‘One Trick Pony’ and ‘Sofi Needs a Ladder’, the voice behind Sofi jumped on stage in a silver sequin dress and swayed to the rhythm, singing. Towards the end of the latter came a moment we've all been waiting for. She got a ladder - from deadmau5 himself. 21

omewhere in one of those thousands of Beatles documentaries from the Abbey Road era, there is a clip of happy-go-lucky Ringo sitting at the mixing desk in studio one. “I don’t know how any of this works”, he explains, gesturing at the console. “We have a man that comes in, pulls some levers, and a guitar turns into a piano”. Musicians’ relationship with the technology of record production has changed somewhat since then, and Damon Albarn’s latest release as cartoon electropopsters The Gorillaz is a perfect example.

The Fall was created entirely on Albarn’s Apple iPad while on the American leg of the the band’s latest tour. Less adventurous than last release Plastic Beach, and missing the long list of guest artists, the album has a lonesome quality to it. “I suddenly found myself in a position where I could make quite a sonically sophisticated record in my hotel room”, the former Blur man explained in a New Zealand radio interview. The suspiciously rampant Apple association isn’t the only marketing quirk The Fall has going for it; the album was released digitally, in full and for free, Audio Addict

on Christmas day; a similar approach to the release of Radiohead’s In Rainbows. Opening track ‘Phoner to Arizona’ lays out the iPad formula (808 drums, basic synths) with a squelching march; only a mildly interesting start, and a surprise selection for the album’s first single. A couple of pleasing acoustic guitarled tracks follow, with ‘Revolving Doors’ finding a non-effected Albarn in a wistful mood, sitting in diners and observing foggy days. The incessant rhythms of ‘Detroit’ start promisingly, but its short

2-minute length indicates it was an idea that failed to materialise fully, perhaps a good representation of the album as a whole. Potential is again demonstrated on ‘Little Plastic Bags’ – a great example of what this album could have been. Here the hypnotism of slow yet determined 808s and eerie keys swim around Albarn’s harmonies as he plays with a repeated phrase of “little pink plastic bags, blowing on a highway alone”. The album has little more to offer however, with often promising ideas falling flat for a variety of reasons, whether

it’s the faux-dubstep bassline of ‘The Joplin Spider’, or the Anticon-style stuttering beats of ‘The Snake in Dallas’ torn apart by a noodling G-funk lead line. ‘The Speak it Mountains’, with steve reich-esque phrase phasing and atmospheric pads is conceptual. However, it appears that the concept is uninspiring boredom. Even former Clash man Paul Simonon can’t liven up ‘Aspen Forest’, a track that appears to feature a rhythmic element formed from mobile-phone-neara-speaker-interference. ‘Bobby in Phoenix’ features soulman Bobby Womak Audio Addict

crooning about, well, Phoenix over more wobbly sine waves, but by this point the album is approaching irredeemable status. Words: Tom Quickfall

GHOSTFACE KILLAH 2009’s Ghostdini: Wizard of Poetry in Emerald City marked a change of course for WuTang Clan’s Ghostface Killah. The R&B influenced effort was fairly well received by critics and fans alike, but latest album, Apollo Kids, marks a definite return to the sound of his first few solo efforts. Ghostface displays all the attitude, bravado and fervour of the much younger rapper

that released Ironman fourteen years ago, and now the ironclad superhero wannabe ‘Starks’ has the confidence of the consummate veteran, with both the sprawling career and almost universal critical respect that he boasts to add to the blend; although still no jet boots. While it’s not in doubt that this is a Ghostface album, what keeps things moving is the support from the varied cast of producers and

HANG THE BASTARD “Now we’ve come to destroy” screams hell-raising singer, Chris Barlow, in the track ‘The Blackest Eyes’, and it’s exactly what this album and this band are going to do.

Hellfire Reign, released through Holy Roar Records, is the second album by London birthed Hardcore/Metal band, HANG THE BASTARD. It’s a fusion of what sounds like everything the band has produced to date. The ever-intricate guitar work is still there, the blood-pumping tempo is still there and the distinctive screams are still there. If anything, all these elements have improved vastly from their last outing ‘Raw Sorcery’ back in 2009.

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APOLLO KIDS

ISLAND/DEF JAM

RECORDS Words: Peter Smith guest MCs. The album sees superstar Busta Rhymes (who appears on the aptly titled ‘Superstar’), fellow Wu-Tang members Method Man and GZA joining Ghostface on the vocals as well as slightly newer additions to the Wu-Tang stable like Jim Jones. Stalwart producers Pete Rock and Sean C, among many others, keep the beats changing. The ninth outing for the Wu-Tang

HELLFIRE REIGN HOLY ROAR

RECORDS Words: Tara Perera You can still hear roots of their past metal fathers throughout the album, especially in tracks like ‘Genesis’ and ‘Farewell Leicester Square’ giving their songs that edge that most Hardcore bands lack: originality. If you like music that creates scenes of unadulterated horror in your mind, this is the album for you. It’s available now from most good music stores and iTunes.

ALBUM REVIEWS man is a back to basics old school album and Ghostface finds his voice easily amongst the catalogue of smooth, classic soul samples that flood the album. Lyrics and form are what you’ll have come to expect, but even the Marlena Shaw-sampling ‘Ghetto’, with perhaps the most clichéd production

THE DAMNED THINGS You may have been wondering what Everytime I Die, Anthrax and Fall out Boy have been doing with their lives for these past years...well maybe not Fall Out Boy. As it turns out, they’ve been discovering how to achieve supergroup status in the form of The Damned Things Vocalist Keith Buckley says, The Damned Things’ Ironiclast

harks back to the days when rock was just fun. Reminiscent of Black Sabbath and Thin Lizzy, this super-group deliver a new breed of fast-paced, aggressive party anthems. Consisting of the members; Scott Ian, Rob Caggiano, Andy Hurley, Joe Trohman and of course Keith Buckley, this album portrays all of their styles; although the scales may tip in the favour of ETID and Anthrax. It definitely makes you think why Fall Out Boy even bothered in the first place. The first single from this record is ‘We’ve Gotta Situation Here’. An infectiously catchy song that truly portrays the bands abilities in both song-writing and recording techniques, as it was self

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and lyrical performances on the album, sounds fresh with the four performers playing with the beat then passing it on with the ease and professionalism of the seasoned veterans that they all now are.

IRONICLAST

MERCURY RECORDS

Words: Ben Radcliffe produced by Caggiano and Trohman. This eponymous track is accompanied by others like; ‘Friday Night’, and ‘A Great Reckoning’, which you can’t help but to start humming Thin Lizzy’s ‘Jailbreak’ while listening; Trohman, Ian and Caggiano are definitely harnessing their inner Gary Moore. If you’re a fan of any of these bands or even if you’re not; this is an album that is definitely worth owning. One of the only bands to get the supergroup thing right first time, among the greats such as Cream and Temple of the Dog. The Damned Things are inescapable force, unlikely to stop for anything.

INTRODUCING...

XEISBERGX O

h the generic hardcore bands in their generic burglar outfits are of plenty at present, churning out diabolical tune after diabolical tune and dancing around with their hands in the air, pretending their on motorbikes whilst being just totally rad dudes. Once every blue moon, a little gem is born, and this band have the potential that’s the size and worth of the greatest diamond in the world!

SAHC/LUXEMBOURG HARDCORE They met at Have Heart’s last show in Boston and became inseparable, in a matter of speaking. The difference about this band is not just that they’re original, fun, have brains and actually have a point, it’s that 2 members live in the London area, whilst the other lot live in Luxemborg… that little country in Europe…yeah!

predominant when playing shows, heck, New Years Eve, the Luxemborgians travelled over to the U.K to play a show at a randomers house, in the middle of Nottingham!

It’s been said that the band practice via Skype, and it’s fact that the band are very

Words: Tara Perera Photos: Roman Laris

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This band are dedicated to their cause, and we can’t imagine them going down quietly.

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WHAT

THE DILLINGER ESCAPE PLAN

NEW JERSEY MATH CORE MENTALISTS RETURN TO THE UK TO BREAK THEIR FANS BONES

ast time New Jersey’s technical geniuses, The Dillinger Escape Plan were in the UK, they brought Donnington’s Download bad weather, but also bad-ass tunes. From their relentless Facebook updates, mainland Europe tour has sounded insane this tour. Will they deliver us our long-awaited dosage of death this month at Southampton Uni Student Union? Audio Addict finds out!

“Two days later you’re like ‘f*** that was the best one...” The Dillinger Escape Plan have been pretty hard at work this past month, travelling literally the width of Europe, stopping off in some big cities. We wanted to know which stop was the best. “There’s been so many shows that like after the show you’re

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like ‘that was the best one’ then like two days later you’re like ‘f*** that was the best one’…” tells muscle-man singer, Greg Puciato. “Berlin was incredible, Poland was amazing…Bratislava, I think the best is yet to come though. Honestly, I’ve been looking forward to the UK the whole time”.  The last time the lads were back in the UK, when it wasn’t festival related, they only

AT WE MISSED LAST YEAR had one night to play two shows at Camden Barfly, which perplexed many fans, and the rush for tickets was insane. Fans from all over the country made the trip down to London, and there were even a few randomers from abroad, but why did they only stop once? “We were just squeezing in shows cos we had to go start Warped Tour, which was like seven weeks long…we played everywhere we could”. Guitarist, Ben Weinman, added that it was a good practice, as the new record had just come out around that time.  On this tour, the band will be playing material off the latest album Option Paralysis, and we wanted to know what was the thinking behind this latest masterpiece. Weinman tells us, “we definitely had inspiration from the idea

that we were coming to a state of, okay what’s going on with the industry, where do we stand, in the scene of things? We’ve been around for so long, we’ve been doing this a lot longer than most bands who are relevant and still going in our scene.

“We’ve been around for so long, we’ve been doing this a lot longer than most bands who are relevant and still going in our scene.” So, we’re constantly trying to figure out where we stand in it all.” The band are, as they say, veterans to this genre, and they are swimming in

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a scene of technology and marketing plans in regards to the music industry. “They have all this information and all these things involved with what makes this music and it’s a little confusing… with technology growing so quickly and being such an important part in everything everybody does on a daily basis, I mean that was really inspirational.”. The band are taking a bit of time out after this tour, going back to the US, but recently announced was a tour with Killswitch Engage, Every Time I Die and Parkway Drive. Unfortunately for us, this is going to be strictly going on in the states only. Hopefully, they’ll be back soon to destroy us all over again. Words + Photos: Tara Perera

WHAT

DEFTONES

GUILDHALL SOUTHAMPTON 15/11/10 from ‘Adrenaline’; songs the band has not played live since before Chi Cheng’s car accident.

he first tour since 2006’s ‘Saturday Night Wrist’, Deftones return to form in the bright lights of the Southampton Guildhall. With support from the somewhat lacking Coheed and Cambria, the awaiting eyes of 300 plus fans look less than impressed. Although delivering classics like, A Favor house Atlantic and Welcome Home. Fans only look interested in the Alt. Rock juggernauts that were to follow. Drowning their sorrows, the fans wait expectantly by the bar. Until they’re lifted by those opening notes of ‘Diamond Eye’s eponymous

track, Rocket Skates. With appearances from the ‘Deftones’, ‘Around the Fur’ and ‘White Pony’ albums, getting the crowd nice and rowdy with Elite and Knife Prty: to quote the man himself; “When you’re ripe, you’ll bleed out of control”. Then calming it all down, with the quite surprising arrival of, Be quiet and Drive, Minerva and the new single Sex Tape. However, there is no sign of anything from the last touring album; as well as the surely anticipated Hexagram. Making up for the loss of this was an encore made up entirely of tracks

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The absence of Cheng still did not waver the bands confidence in replacement bassist, Sergio Vega. After the previous festival shows of the last two years, fans have embraced him to almost the same degree as Cheng himself. Although no sign of Back to School, it didn’t seem to bother the crowd. But in all fairness Deftones…thanks! Words: Ben Radcliffe Photo: Graham Finney

T WE MISSED LAST YEAR FOLKESTONE KENT 6-8/08/10

ou could tell immediately from the sheer excitement of all the campies that this was going to be a festival full of drunken excitement and fun, and with big names such as Comeback Kid, and the ever elusive Glassjaw tearing Kent a new one, you couldn’t really expect any less. As Saturday set in, the crowds merged to the arena site, and in all honesty, it was disappointing. It was very small, and there wasn’t a lot to do actually on site if you didn’t want to watch a band, except lie down in the field. Without a doubt however, the greatest support act had to be Sacramento’s Trash Talk. They played a variety of songs off old albums and a few off

HEVY MUSIC FESTIVAL their new, Eyes & Nines. Their singer, continuously diving for the crowd, and asking for some weed, really made this set what it was, ridiculous. They’re a tight band, and absolutely insane live, and definitely entertain, as long as you don’t get clapped round the head with the mic whilst it’s being swung around like a lasoo. Comeback Kid eventually took the stage, and majority of the punters came to see them. They had taken time out of their tour in America to play this one off show in Kent, which sounded a bit far fetched, but once they had gotten out of their ‘you’re so lucky’ persona and actually played some songs, they were as good as gold. Thankfully, they didn’t blitz through their already leaked new album, Symptoms & Curses, and played a multitude of old tunes that everyone loved.

pathetic number of people watching them, you could tell it was unfortunate for everyone else as well. They were just as terrible as you could imagine, and their singer was continuously out of tune, and out of his mind if he thought he was giving a good performance. Eventually, Glassjaw came on stage, and it was sort of a weird vibe that was being given off by them. You couldn’t really tell if Daryl Palumbo hated you or loved you. Since breaking edge, and ironically getting better from his illness, he seems to have become a massive arsehole. Maybe he’s been that way the entire time, just the alcohol has amplified it. They were a fantastic end to the festival. Words/Photos: Tara Perera

Sunday was shaping up to host a few less impressive bands, but the headliner was something worth waiting around the whole day for. Unfortunately, Madina Lake were on the bill, and from the

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