COME PL AY WITH QUEEN ZEE DEAD NAKED HIPPIES E MILY P IL BE A M - BB C R A DI O MAGICK MOUN TAIN ARE R APPERS T HE RE AL ROCKSTARS? HOW TO WRITE AN EFFECTIVE PRESS RELEASE CAROLINE SMITH - TOUR MANAGER & ENGINEER AND LOTS MORE...
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MANAGEMENT Tony Ereira MAGAZINE Andrew Benge LABEL Scott Lewis EVENTS Sam Robinson QUEEN ZEE COVER Andrew Benge
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SPECIAL THANKS In no particular order - Ashleigh, Zee, Gary, Lucy, Jacob, Joe, Sammy, Lins, Tom, Nestor, Danny, Kimberley, Anthony, Richard, Frank, Katja, Burak, Jenessa, Emily, Caroline, Harry, James, George, Isaac, Ben, Simon, Adam, Rebecca, Adam, Ryan, Julia, Emma, Nicole and everyone else that helped make this happen.
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Come Play With is published by FYI. Copyright © 2018 All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, email the publisher at andy@cpwm.co. Printed in the UK.
04 QUEEN ZEE 10 DEAD NAKED HIPPIES 15 MAGICK MOUNTAIN 16 PHOTO BOOTH 20 EMILY PILBEAM - BBC RADIO 22 CAROLINE SMITH - TM & ENGINEER 23 OFF THE RECORD MANCHESTER 24 ARE RAPPERS THE REAL ROCKSTARS? 26 TREEBOY & ARC 27 GUIDEBOOK HOW TO WRITE AN EFFECTIVE PRESS RELEASE 28 WATCH OUT 30 COME PLAY WITH US
QUEEN ZEE 4
Ashleigh Talbot, musician & trans ambassador sat down with Zena “Zee� Davine from Queen Zee to have a chat about everything from Placebo to Peterborough and all that lies between.
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So firstly thanks for sitting down with us. I guess we’ll start with the basics, how is it that you got started as a musician and performer? Zee: I don’t really know to be honest, I mean I played saxophone and my nan had a piano when I was a kid, she was one of those wartime-like singers. So I was doing stuff like that, and then I just discovered punk and hardcore and stuff as a teenager, like everyone does. Then just didn’t grow up. So currently you’re with Queen Zee & The Sasstones, what’s the status of that? Zee: Yeah so, we dropped The Sasstones from the name, just because it was annoying me. It’s really long, so we were on festival posters and it was really small, and I wanted to be like really big, and have it in bold font. But it’s the same people, and we’re all doing the same thing. They’re just not as important. Onto that then, because I’ve seen you live it’s been an energetic show, there’s a lot going on. So how much of that is you and how much of it is a Queen Zee persona? Zee: Yeah, well I started Queen Zee almost as a drag persona, you know. I wasn’t out at the time and I was just kinda like playing around and I had this idea almost like a punk drag queen. I love drag culture, and I loved the whole questioning of gender that went on there and I saw a lot of that happening in punk as well, but I very rarely saw the two of them cross over. There were these queer punk bands that existed, but they still just looked like punks. There was no kinda, ‘glam’ to it. I started transitioning and came out so I think there was an element of I would get on the stage and I would be Queen Zee and then I’d get off the stage and go back to my normal life. But I think at this point now, where I’ve lost my mind, I’m just Queen Zee all the time. Yeah, I kind of know what you mean. I got into the kind of alternative aesthetic as a teenager and I saw that all the people who made the music I liked wore a lot of eyeliner and particularly things like Placebo where it was kind of openly queer in the 90’s.
Zee: I loved Placebo as I got older, I think I kind of missed them the Placebo train a bit, as a kid. And obviously you really fancy Brian, don’t you? Yeah honestly that’s why I brought it up. I think as a kind of queerish, punkish touchstone they’re a good place to start. Zee: Actually for me, the one that I really latched onto was Marilyn Manson. I look back and I kind of cringe about some of it now like, but at the time there was the gender bending element to it, and it was drawing on a lot of that 80’s vibe, people like Pete Burns, Boy George and Gary Numan. So what else influences you? Zee: I really struggle to name musical influences because I kind of hate music. Like, I listen to records in full at home and I appreciate them as records but I never wanna go and make them, if you know what I mean. Whereas when I watch films, I’m always “Oh I want to look like that, I want to dress like that”. So I love the Mad Max films, and I love the chaos in them, how all the outfits are like, nailed together and stuff. That really influenced me. Also old horror films, like Return of the Living dead, and the punks in that who I just thought were brilliant. But yeah musically? I always really kind of struggle. I think the reason I made Queen Zee was because it didn’t exist. I mean, there’s so many fucking pop punk bands, and they all just look and sound and act exactly the same and for me, I’ve never wanted to be in one of those bands that look and sound like the bands that influence them. So the things that do influence me are because there was no one else at the time who sounded like them. I really love the Kramps, and at the time there really wasn’t much like them. I really love Sun Ra, because he was pioneering his kind of jazz movement with a kind of sci-fi element to it. So it’s coming from a lot of places, and it’s about being influenced by what people did as opposed to just aping what they sound like.
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So as you’ve put this thing together because it didn’t exist, do you think you’re representing queer culture as you do that? Zee: I guess queer culture is an example of being influenced by something that does exist. So it’s me almost taking exactly what I’ve seen drag queens do, and taking it out of the context of the gay club environment that they’re in. So I guess there is a representation, and I never want to shy away from that. I never want to be one of those people who’s all like “No no no that’s not me” but then cherry-picking elements of it. And I do respect queer culture but at the same time I’m not out there specifically to put myself out there as a martyr or anything. Having said that, I would absolutely die for our LGBT fans, totally!
“I’VE NEVER WANTED TO BE IN ONE OF THOSE BANDS THAT LOOK AND SOUND LIKE THE BANDS THAT INFLUENCE THEM” So I’m in Manchester, you’re based in Liverpool. Isn’t there some sort of rivalry thing we should be doing right now? Zee: Well, Birkenhead. So you know, we get very offended when people get that wrong! I think that’s a football thing, and if you’re not into that, like me, then I kind of don’t give a single shit. I first met you in Liverpool at Queer Rrriot in 2017. Have you found it easy coming up in that cultural scene and is it as supportive and cool as I hear it is? Zee: Yeah Liverpool’s a weird one, really. I always use the analogy that if the UK is Texas, then Liverpool is Austin. It’s like this tiny little odd little city that isn’t scared to get weird with like Half-Man, Half-Biscuit, the KLF and Space and all these other bands.
But at the same time, it is only a small city so sometimes it feels a bit, over saturated. The rivalry that goes on in that scene is so horrendously toxic. But in terms of the queer scene, I’d actually say that over the last two or three years that scene has gotten really good. There still isn’t very much crossover, so for ages I never felt particularly welcome in the queer scene. Showing up as like a crusty punk with my patches sewn into my jeans, my Black Flag tattoo. So if I turned up to a drag night they’d all just be looking at each other like “who on earth is this stinky kid?” rather than, if I turned up to a punk night they kind of didn’t give a shit. There’s a really good punk scene in Liverpool, there’s a label called Anti Pop who are kind of the godfathers of the DIY punk scene there. I guess that is where I’ve grown up within it. But at the same time, there wasn’t queer bands, it was all still hardcore bands, with big muscly bearded dudes taking their tops off and beating the shit out of each other, which I just felt intimidated by. You kind of wonder to what extent that’s deliberate on their part, like kind of peacocking, but in a machobullshit way? Zee: Oh it totally is. I mean we talk about art as catharsis, and I mean hardcore punk and the macho element to it has always been just these incredibly repressed men releasing a LOT of aggro. I get it, like I do get it that you’ve had a shit day at work maybe and you work out a lot of stuff by having a mosh. But If I moshed in with those guys, I would get beaten up. We actually had a really bad run in when we first started this band, with the hardcore scene in Liverpool. Who like threatened to kill me and put loads of stuff up online, said they’d find me and hunt me out and stuff. Because I said the scene is bullshit. So is that the only trouble you’ve had in terms of gigging around Liverpool and elsewhere? Zee: Liverpool is a normal city, so one half of it don’t give a shit if you’re trans, 25% think it’s great or want to cherish it, and then maybe 5% of people want to beat the shit out of you. It’s like anywhere.
On the whole it’s not any more rough than Manchester or London or Paris. Like, we had a bunch of people trying to chant us off-stage in, I think Peterborough? Then in Stowmarket someone shouted homophobic abuse at the stage. But I was just like “Why bother coming to the fucking gig, then?” to be honest. I think you become kind of desensitised to it when you’re in band, really. You just get onstage and you do your thing, and then you get off stage and your life does just carry on. I get bothered when stuff happens right on my doorstep, from a safety point of view. That stuff with the hardcore scene in Liverpool was worrying because it’s like “Okay, these guys know where I live”, but some knobhead in Peterborough? Nah you can just go home. It’s not like we were being subtle or hidden about it in the run up to it. Conversely then, are there any other cities that you particularly like seeing, in queer cultural terms? Zee: Oh yeah loads. I love touring and travelling. So Glasgow is phenomenal, it’s an amazing place for that. Nottingham too. I don’t know why Nottingham specifically has reacted so well to Queen Zee, but I love going there now. Cardiff is brilliant as well, Bristol, Brighton of course, and to be honest all of mainland Europe. We were in Hamburg at the weekend and literally, no one gave a shit. I went onstage with these, like big blow up tits on. Whereas in England there’d be like, gasps and horror and shock, they were just like “Yeah, and?”.
misses. I am actually really excited about it, of course. It means we just have that body of work, that 12 inch record to just tour. And hopefully, we’ll have another single coming out by the end of this year. One last question; What words of advice to the younger people today who look at the queer or punk or whatever scenes and don’t see what they want to see and what to create something like this? Zee: The one thing you learn here is that there’s no rules! I was talking to someone earlier who said that their record label had told them to “tone down” their queerness, but like there’s plenty of bands that don’t have any queerness and they do shit as well. You see a band and they’re perfect, they’ve got songs, they’re pretty, four straight dudes in leather jackets and they get dropped because they don’t sell records. You’ve just got to be yourself, do your own thing, be organic. But the thing you’ve got to do the most is just work, really fucking hard, and just accept if you want to do it you’re not going to sleep, you’re not going to eat, you’ve just got to work at it. If you work at it, it will happen.
Okay so, time for the sales pitch; tell us about the new album. Zee: Yeah! So, it’s got all the hits, please buy it. It’s our debut album, so it’s definitely kinda special to us but at the same time, we’re working on stuff for album 2 already, I’m over it. This is kind of the worst sales pitch ever, really. BUT, there’s some new tunes on it, as well as other stuff we’ve put out so far and it’s all been remastered. It’s kind of our statement of “Okay this is everything from the last few years”. It’s like a greatest hits debut album with no actual hits on it, our greatest 8
Words by Ashleigh Talbot | Photography by Andrew Benge
Manchester Northern Quarter’s music conference by day, featuring a handpicked line-up of emerging talent at night.
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CONGRATULATIONS TO 'COME PLAY WITH' ON THEIR FIRST ISSUE
DEAD NAKED HIPPIES 10
Having only been kicking about for two years now, Leeds based Dead Naked Hippies are building a massive reputation for themselves as Art Rock masters. To say they’re a three piece, their sound is huge and almost definitely bigger than most four/five pieces who are also making a noise at the minute. After all being in multiple separate bands in the past, Lucy, Jacob & Joe desired working together on something. They spent six months in a practice room at local DIY spot Temple Of Boom, taking their time at working on a collection of songs they all loved before taking to the stage and showcasing their new project to the world.
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It’s safe to say it didn’t take long for local promoters to catch on to the band, with their third ever gig being a support slot for UK favourites Dream Wife. We met up with the three members at local book shop Village to discuss their recent movements. After a quick chitchat we jumped straight to the deep-end asking about all the issues they have with the industry and how a lot of these topics are cropping up in their new material via Lucy’s powerful lyrics. Do you feel that you often get compared to certain bands just because they also have female singers? After all three slightly laughed out similar phrases “Absolutely”, “Without a doubt”, Lucy expanded stating “I suppose it’s an easy thing for people to put two and two together and just think, ooh a girl and a girl. I think you’ve got to look past that, ‘Girl’ isn’t particularly a genre of music.” Lucy: “We’ve always said, it’s not a calculated thing, obviously embracing your gender is important, I’ve had a nice handful of younger women come up to me and say ‘You’re exactly what I like to look up to in a woman, you just don’t give a shit.’ That’s the most important thing for me. It’s nice for it to be recognised but maybe not focused on. Yeah I’m a girl, but I’m not trying to project that. I’m not making it an important thing because I don’t think you should have to. It’s fine just to be who you are. I think it’s whatever works for you and whatever message you want to carry. It’s really nice seeing bands like Dream Wife and how it’s recognised that they’re girls getting together and doing something ace. For us it’s just boys and girls getting together, making each other feel good and respecting each other, that’s what important for us.”
On your most recent release ‘RARE’, what message are you trying to share within that?
their band practices and how they all find it so ridiculous that it’s laughable.
Lucy: “I am trying to tell people that it’s okay to be not okay and it’s okay to just be yourself. I’ve always been a pretty anxious person and have struggled with anxiety and depression for a while but when this song was written I was going through probably one of the worst phases I’ve been through, I just felt like I was floating. It’s quite funny because it’s upbeat poppy and very celebratory. It was me telling myself it’s fine to feel shit, all of these feelings are very normal and human.”
Lucy: “It’s the fact we’ve become so drilled into using the word ‘Girly’ to define being coy or shy. The song’s kind of a play on that.’
“IT WAS ME TELLING MYSELF IT’S FINE TO FEEL SHIT, ALL OF THESE FEELINGS ARE VERY NORMAL AND HUMAN”
In your music, has there always been an underlying social commentary within it or has that come later on from being in the industry for longer and being more exposed to a lot of these issues?
Joe: “That’s it. It’s kind of saying Women can’t be angry. If women make Rock music it’s gonna be ‘girly’ so we joked around with the idea of making a ‘girly’ song and Young Male Rage is what came out.” Lucy: “It’s a lot more visceral than the other songs we’ve put out this year and I like that that’s coming from a female voice!”
Lucy: “It’s definitely about gender norms, but in a sense that society deems certain emotions to be male, such as being angry, and certain words are associated with masculinity.”
Jacob: “When we first started the band I think we just did whatever we wanted to do and didn’t think about it so much. As we’ve got more comfortable with each other, instead of getting to practice and just starting to play, we come to a practice and talk for about an hour. That’s exactly what happened with the Bono interview! I think it’s always been there but those conversations over time have become more fiery and because of that the social commentary maybe bleeds into the music more.”
Jacob: “I was at work and one of us had read the Bono Rolling Stones interview. It was all about him basically saying ‘There isn’t enough young males involved in music getting angry.”
Lucy: “I think it’s always been there for me. I’m quite a socially anxious person so being in a band for me has always been my voice. That’s the way that I talk to people!”
Your next single, ‘Young Male Rage’ is coming out very soon. Is that a follow on from ‘RARE’ or is there a different topic running within?
Joe: “Because Rock music has “got GIRLY”! At this point Jacob, Joe and Lucy all started laughing about this, showing signs that it’s clearly been a very recurrent topic at 13
“IT INFURIATES ME, WE’RE IN THIS AGE OF THE ‘INSTAGRAM BAND’ AND IF YOU’RE A POPULAR BAND ON INSTAGRAM THEN YOU’RE DESIRABLE” As a band it’s quite important having social media to help promote yourself. A lot of people state they hate using social media and would delete them if they didn’t do music. Do you think if you weren’t using these platforms to promote the band you might have left social media by now? Lucy: “It infuriates me, we’re in this age of the ‘Instagram Band’ and if you’re a popular band on Instagram then you’re desirable. It seems to be the thing that matters…” Joe: “The thing that frustrates me is putting too much pride on how many likes a post gets, it seems to be all about numbers. There’s a lot of people that interact with our posts and it feels good to know that you can give people updates on where you’re playing and what you’re doing. However I don’t think any of us use it personally.” Jacob: “I think a lot of it depends on what kind of band you are. It’s important for us because we think it’s really important engaging with those who come to our shows.” Lucy: “I did an Instagram story about how I really like making hand-written lyric sheets and said people could drop us a message if they wanted one. Straight away people were saying they wanted one and we organised bringing
them to whichever gig they were going to be at next.” Joe: “I think it would be really interesting if Facebook and Instagram removed ‘the Like’ and all of the numbers including followers too. It would be a lot healthier in my opinion!” Let’s finish on something a little more positive which you slightly touched upon before with the hand-written lyrics. You seem to do as much of everything yourselves as you can, all of your artwork and tour posters. Is there many other people behind the scene helping you with certain things? Lucy: “On the videos we work with a friend called James Arden! I think a lot of people sometimes think they look quite shiny and polished but in reality they’re not. They’re very budget and self funded but they’re really fun to make!” Joe: “We also always work with Matt Peel who produces all of our singles. Plus Scott, who manages us now! He’s kind of an invisible member of the band.” Jacob: “He’s the fourth member, you can quote us on that!” Joe: “He’s done loads for Leeds music and is great! We didn’t want to dive into any kind of official relationship with a manager too soon because the band is our baby! It feels almost like handing over your baby which is a tough thing to do.”
the world you could work with, whether that be collaborating on a song or a certain producer or anything, who would it be? After a fair bit of hesitation, a lot of ‘oohs’ and ‘aahs’ the band all seemed to comment on the idea of working somewhere different rather than with someone else! Joe: “We’d like to go somewhere different and work outside of our comfort zone! Maybe go far away to record something, even if it was just on the other side of the country!” Lucy: “It would also be nice to write and record in the same place. Often we’ll write a big bank of songs then pick which ones we want to go and record. It would be cool to go and record it all when it’s fresh and be more creative in the studio rather then recording songs that are already pretty much ready. Although Matt is great because he’s a no nonsense kind of guy. He’ll tell us when it’s shit or when he thinks things are pretty good. That’s why we like him, there’s no bullshit!” Dead Naked Hippies will be releasing their new single Young Male Rage in late October on 7” Vinyl as part of Come Play With Me’s single club. This particular single release is a split with No Fixed Identity and to co-inside with this, Dead Naked Hippies have got various live dates including HERFEST in Leeds and Sheffield.
Jacob: “We’re always chipping away at doing one thing or another for the band, even when we’re at work or wherever we are! It can get frustrating if we’re working with people that aren’t at that level of investment with it. With Scott, he’s on that level, he’s die hard and always wants to do it.” Finally, if there was anybody in
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Words by Sam Robinson | Photography by Andrew Benge
MAGICK MOUNTAIN WHO ARE YOU?
We’re Magick Mountain, more specifically I’m Lins (guitar/vox) making noise with Nestor Matthews (drums) and Tom Hudson (bass/vox). We’re a garage rock band hailing from Leeds, with a love of fuzzy rock ‘n’ roll.
without really comparing to other people - I’ve always wanted to have a band where I’m playing guitar and also the lead writer, having been a right-hand woman to many talented friends over the years. I think it’s so important in life to keep hold of that thing you’ve always loved, whether doing it professionally or not.
WHAT DO YOU DO?
When we’re not jamming bad cover versions of random songs at practise, we’re writing/recording/ playing shows as Magick Mountain and spending our time split between this band and others, recording and playing shows (Tom is in Pulled Apart by Horses and Nestor is in Menace Beach, I’m currently just in the one band, which is new for me!). We also all have various jobs and projects so we’re a pretty busy lot. Living life as a creative jigsaw puzzle isn’t boring at least.
WHY DO YOU DO WHAT YOU DO?
After years of collectively working our arses off in various bands, we started talking about putting this band together, for a few reasons. Magick Mountain gives us each a certain amount of freedom and creative input that’s different to our other bands, which is what makes it so exciting to us. I think it’s refreshing, fun and easygoing for all 3 of us and a total release on stage / in the practise room. It’s taken me a long time personally to have confidence to do exactly what I want
“IT’S BEING SPOKEN ABOUT IN NATIONAL PRESS, BUT I THINK THERE’S STILL A LONG WAY TO GO...” WHAT IS HAPPENING IN YOUR WORLD RIGHT NOW?
We’ve just done a week in the studio working towards our debut album, at Czar Street Studios with a great producer called Margo Broom who’s worked with Fat White Family, Calva Louise and Black Helium amongst others. It went really well and we had a lot of fun...We’re planning do another chunk of recording in the next few weeks to get it finished off, then will look at releasing it sometime soon! We’re playing a few shows here and there but at the moment don’t have a full tour booked in, again something we’re aiming for next year.
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TELL US WHAT YOU THINK IS THE HOT TOPIC IN MUSIC IS RIGHT NOW AND WHAT MEANS TO YOU?
Maybe a bit obvious to pick this, but women in music is a hot topic. It’s a tricky one because whilst it’s great to be a part of a programme called Rebalance (which gave us the recording time and looks to address the issue of an imbalance of women in the industry), it still feels like a long road and only small measures are starting to be taken. It’s awesome to see more women getting recognition, more women in alternative bands and that it’s being spoken about in national press, but I think there’s still a long way to go... There is so much that audiences, the industry and people working in venues can do to help - every single person, attitude and comment makes a difference. I still get the ‘I’ve not seen a girl play guitar like that before’ and ‘are you the bassist?’ comments pretty regularly in venues! Also I think the women who perhaps go under the radar should be the ones we need to shout about - along with myself I know many women who have been playing, writing, performing, producing, tour managing etc for years, but because they perhaps are just cracking on with the job and not seeking attention for it they go unnoticed. If I can continue to do my bit to help challenge presumptions, inspire younger women, create safe live shows, support women or talk publicly about this then I will. Photography by Andrew Benge
PHOTO BOOTH
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01 JOHN GRANT (ANDREW BENGE) 02 CLEOPATRICK (DANNY PAYNE) 03 THE FLAMING LIPS (ANDREW BENGE) 04 LORDE (KIMBERLEY ROSS)
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05 SCARLXRD (ANTHONY LONGSTAFF) 06 MITSKI (RICHARD NICHOLSON) 07 AVATAR (FRANK RALPH) 08 ST VINCENT (KATJA OGRIN) 09 GARBAGE (ANDREW BENGE) 10 QUEEN ZEE (FRANK RALPH) 11 DUA LIPA (BURAK CINGI)
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01 LEEDS FESTIVAL 02 FRANK CARTER & THE RATTLESNAKES 03 IDLES 04 DIPLO 05 HINDS 06 PANIC! AT THE DISCO 07 FALL OUT BOY PHOTOGRAPHY BY ANDREW BENGE
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EMILY PILBEAM BBC RADIO
Emily Pilbeam’s heart has always been in Yorkshire. Raised in Norfolk, the 21-year-old has been infatuated with Leeds in particular for as long as she can remember – almost as long in fact, as she has been in love with radio.
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A former competitive swimmer, Pilbeam remembers fondly the routine of being driven to and from the pool, accompanied round the clock by dogeared copies of NME and the background noise of Radio One. Years later, the people she idolised are her colleagues – as team assistant at BBC Introducing and most recently, presenter of BBC Leeds’ Monday Night Mixtape show, she’s rubbing shoulders with people she’d only ever heard through car speakers.
of the directors saw me writing some reviews and mentioned working with them in the bookings agency. He didn’t follow it up right away, so I was the classic pesterer and eventually got in, and stayed working for them for about eight months while working behind the bar. And then this Introducing job came up, and off I went. I started doing the West Yorkshire show, then six months started on the North Yorkshire show, and it’s just grown from there. Just hounding people, essentially.”
“I had to do a bit on Steve Lamacq’s show the other month about the Leeds Music Scene and I was pretty much s***ting myself” she laughs, taking in a post-work pint at Leeds Wardrobe. “It sounds so very sad, but I was an only child, and so growing up, I’ve kind of always felt like radio was my mate. I remember listening to Zane Lowe a lot when I was studying for my GCSE’s, and I remember him announcing all the acts for Reading & Leeds, which was my absolute world at the time. I’d literally plan for his announcement in my diary and get so excited as he read out the names. It always felt like such a moment. It’s so different listening to the radio than it is listening to an album – you feel like someone is right there in it with you and I always found that really comforting and important. You just can’t get that personal with a Spotify playlist.”
With the stars having finally aligned, securing the dream job hasn’t come without its stresses. A self-confessed worrier, Emily knows the pressure that comes with multi-tasking and trying to remain on top of your game in a competitive industry.
Having volunteered at hospital radio since the age of 16, Emily got her current job the way most creative folk do – through networking and polite pestering, as well as putting in shifts at less-than-desirable jobs. “I was so desperate to go to Leeds because of the music scene; I applied for a broadcast journalism degree but found it was very news-based and not really for me” she explains. “So I got a job at Wetherspoons in Leeds Train Station, and then a job behind the bar at Headrow House. One
“I guess for a lot of people in the creative industries, it’s just the fact that I have a tendency to take on too much; nothing to do with how I feel about the work itself, but just about trying to have a work life balance,” she says. “I don’t think anyone in the music industry does; it’s something you get into because you love it, and naturally turning it into a job takes a little of the carefree fun out of it. After working on this year’s Leeds festival and being in charge of the Introducing Outdoor Broadcast,
“IT’S SUCH A SPECIAL CITY EVERY DAY I’M LISTENING TO WHAT’S BEEN UPLOADED AND IT’S SO INSPIRING BECAUSE EVERYTHING IS SO DIFFERENT”
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I was very overwhelmed and it was a really difficult time for my anxiety; that feeling of realizing that everything you ever want is happening but you’re not over the moon, because you’re just too exhausted. It was worrying, but then I realized it was because I just hadn’t stopped for like six weeks and I was completely burnt out.” Taking time for fortnightly trips out of the city to escape the bubble (“me and my friends went to Ilkley a few weeks ago just for a walk and I felt like a new person the next day”), Emily is beginning to get to grips with life as a regular radio presenter. At the helm of the Monday Night Mixtape, she is able to share her passion for local music, chasing the connection that fuelled her early fascinations with Leeds. “It’s such a special city - Every day I’m listening to what’s been uploaded and it’s so inspiring because everything is so different.” she smiles. “At BBC Leeds with my mixtape and the other evening shows, it’s all about connecting with a younger audience and making sure that we’re reflecting the community. We’re in a different time too – people are using the Internet much more readily than turning on a radio and we have to be mindful of that, but I don’t think radio is at risk of dying anytime soon.’ She laughs, draining her pint. “I hope not anyway, because I’d bloody be out of a job!” Listen to Emily’s Pilbeam’s Monday Night Mixtape on BBC iPlayer
Words by Jenessa Williams | Photography by Andrew Benge
CAROLINE SMITH WHO ARE YOU? Caroline. WHAT DO YOU DO? I work as a Tour Manager and FOH Engineer. I travel around the world turning things up and making sure the band and crew get from A to B. Current clients include Hinds and The Japanese House. Some past clients include Hobbie Stuart, The Hunna, Bars & Melody, Only Real and Au Revoir Simone. WHY DO YOU DO WHAT YOU DO? I always had a passion for live music and wanted to be a part of making shows happen. Being from a small town in Scotland, not many bands would hit it on tour, so when a band did make the effort to come as far up the country as us, it was always pretty exciting and hugely appreciated. Back then I never saw any female crew members working with them. So I became one. I’ve had good and bad experiences being a woman in music. I’ve been Photography by Andrew Benge
given jobs because of it but I’ve also lost jobs because of it. At the end of the day, you should get the job if you’re qualified enough to do it. Your genitals have shit all to do with it. WHAT IS HAPPENING IN YOUR WORLD RIGHT NOW? I’m moving house. It sucks. Every time I do I am never prepared for the amount of rubbish that I’ve hoarded over the years. Other than that, I’m working on budgets for my next few tours and finishing off my own music, which is due out next year. It’s pretty cool hearing it all come to life in the studio. Just hearing it in a different space other than my friends bedroom has been pretty rad. I’ll be speaking on the Jobs in Live Music Panel at BBC Introducing Live on the 9th Nov, which I’m pretty excited about. BBC Intro Live is a brilliant event for anyone wanting to get in to the industry, so make sure you come down if that’s your vibe. 22
“AT THE END OF THE DAY, YOU SHOULD GET THE JOB IF YOU’RE QUALIFIED ENOUGH TO DO IT. YOUR GENITALS HAVE SHIT ALL TO DO WITH IT”
TELL US WHAT YOU THINK IS THE HOT TOPIC IN MUSIC IS RIGHT NOW AND WHAT MEANS TO YOU? Let’s not forget that #MeToo is as relevant now as it was when the movement started. Let’s keep the momentum going on that.
After two sell-out years, Off The Record will return to Manchester’s Northern Quarter on 15th and 16th November, with more venues and its biggest artist, conference and curator line-up yet. Following suit with previous years, trusted national curators, including Everything Everything, Huw Stephens, Rob Da Bank, Ana Matronic, Fickle Friends and The Orielles, have nominated the artists performing. EVERYTHING EVERYTHING are curating their own stage at this year’s event, after being keynote speakers in 2016, and artists confirmed to perform as part of this include, CHILDCARE, Giant Boys, See Thru Hands, MDP, SPQR and vwls, alongside a DJ set from the band themselves.
NEW FOR THIS YEAR The conference element with include a special song-writing masterclass with Doves and In-Comversation with Bernard Butler. Top Panel Picks include: DIY VS INDIE VS MAJOR This panel will evaluate being an independent artist in today’s music industry and what the future holds for the DIY approach. Speakers > Tony Ereira (CPWM/ Hatch Records), Mark Orr (LAB Records), Julie Weir (Sony Music) & Jennifer Otter Bickerdike (Rock ’n’ Roll Historian, Author.
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BE INSPIRED... A CELEBRATION OF CHANGE This panel talks to leading industry experts celebrating the positive changes that have been made, the new schemes and initiatives in place such as Keychange, Both Sides Now, PRS for Music Foundation to name a few. Moderated by Tony Ereira (CPWM/ Hatch Records) panelists include > Shell Zenner (BBC Introducing), Becky Ayres (Liverpool Sound City), Kate Lowe (Both Sides/ Brighter Sound) and Winifred Sandy (PRS Foundation). TICKETS FROM JUST £17.50 WWW.OTRMCR.UK/TICKETS
ARE RAPPERS THE REAL ROCKSTARS? Cast your mind back to October, 2013. Zane Lowe is conducting THAT infamous interview with Kanye West, when the hip-hop artist - almost off his seat in anger and adrenaline - shouts down the microphone, “We the real rockstars, and I’m the biggest of all of them.” Precisely five years later, and we have to ask ourselves, how much has changed? Rock fans have waited in vain, sure in the knowledge that this generation‘s ‘next big thing’ was just around the corner. Sure in the knowledge that the next Jim Morrison or David Bowie was on the cusp of discovery. Yet the genre’s knight in shining armour remains absent, and a saviour is still yet to be seen. 24
To tackle the question, we must think about the fundamentals of what we expect from so-called rockstars. We expect fame. Charisma. Attitude. Chaos. A life of excess. Innovation of music that pushes the genre to new heights. Spearheading new trends in the fashion industry. The creation of a counter-culture. And, more so than anything else, no apologies for any of the above. Rockstars of old ticked all of these boxes, regardless of the era that they found themselves in. In the last two decades, however, the strew of cultural rock icons has run dry. The arrival of brit-pop in the mid-90’s began to mellow the mood of rock’n’roll in comparison to previous generations. It brought with it a celebration of being ‘normal’ and a nostalgic glorification of the straight, white, male, British working-class. Whilst the Gallaghers lived up to almost every stereotype, rock icons of the 90’s slowly shed the well known characteristics of the rock gods that came before them. Innovation was the first of which to take a major hit. Experimentation of any form became muted; instrumentation and song structure was simplified, the androgyny of the 80’s was swept under the rug, and fashion was more reserved and safer than it had ever been before. The era produced some truly incredible music, yet the wheels were set in motion and the death of rock’n’roll had just begun. The sanitisation of rock music was well underway by the mid-2000’s, and the carpet was rolled out for the ‘nice’, cardigan-wearing indie generation to take centre stage. The Arctic Monkeys are now undoubtedly the biggest rock band in the country but they’re a prime example of how rock has lost its edge. They continue to dominate the U.K. alternative scene after 15 years of crafting their seemingly untouchable pedestal- and yet, this is a band whose most dramatic front-page-
grabbing headline was the very amicable 2011 breakup between the frontman and a TV presenter. So, can the Monkeys REALLY be considered rockstars? Because, for all of their musical might, they still encompass everything that is sanitised about the rock scene today.
“EVERY SINGLE CHARACTERISTIC OF A ROCKSTAR IS BEING LIVED UP TO BY THESE BOLD, YOUNG, ARTISTS” In this barren rock’n’roll wasteland that we have found ourselves in, swooping in to reign supreme - like the Germanic barbarian horde that conquered Italy after the great fall of Rome - was rap music. The genre has undergone a revolution in every sense of the word, and in 2017 rap surpassed rock as America’s most popular genre. For the first time in history, in the long 40 year war of six-strings vs turntables, the tides have finally turned. One of the key factors in this shift is that rap artists are now living up to all the stereotypes that we expect of modern day rockstars. A$AP ROCKY is rapping about hotel room threesomes on week long acid trips, something you would typically expect to hear from a band like The Grateful Dead. Travis Scott was arrested onstage for inciting a riot, eerily reminiscent to the Jim Morrison indecent of the same nature. BROCKHAMPTON, a rap group who are redefining the term ‘boy band’ and whose leader is openly gay, are sitting at #1 on the album charts with an experimental hiphop album. XXXTentacion and Mac Miller are sadly dying young under dramatic circumstances, evocative of the infamous 27 25
club of old. Stormzy is out here like a young, black, modern-day Lennon, fighting for social change and spearheading the countries greatest political struggles. Skepta is at Fashion Week “sitting front row with the black tracksuit”, making a stamp on the fashion world that is being translated directly back into youth culture of today. Death Grips are playing shows with all the ferocious energy of an early Black Flag. And Lil Pump is forming mosh pits at Reading and Leeds Festival that even Queens of The Stone Age would be envious of. The genre of hip-hop is also being pushed forward into new realms of musicality. Artists like Kendrick Lemar, Tyler The Creator and Childish Gambino are raising the bar with their volume of output and constant innovation. Experimental artists such as JPEGMAFIA are subverting everything that we expect from, not only the genre, but music itself. And finally, so-called ‘mumble rappers’ and ‘trap rappers’ have opened the door to a totally new sub-genre of both music and culture with their distinctive style, their triplet flows and their down-tempo, hi-hat heavy beats that are seeping endlessly into the mainstream. This blossoming new era are living lives of completely unrivalled chaos and producing a musical output that is second to none. Every single characteristic expected of a rockstar is being lived up to by these bold, young, artists — more so than any other, the most important characteristic of all: their completely unapologetic attitude. Rap is the new rock. It’s true, and they don’t give a fuck if you think otherwise.
Words by Harry Tidswell | Photography by Andrew Benge
TREEBOY & ARC WHO ARE YOU? James, George, Isaac, Ben and Sammy. Collectively known as Treeboy & Arc, on occasion. James plays Bass and sings, George plays Lead Guitar, Isaac plays Drums, Ben plays Guitar, Synth and sings and Sammy plays Guitar and Synth. WHAT DO YOU DO? We write songs in our basement and then play them live to whoever wants to watch us. Usually we then go and record those songs with Chris Mulligan at Leeds Music Hub. WHY DO YOU DO WHAT YOU DO? Mainly just because we like playing music, especially live and doing it to people who want to watch you adds to the fun. Plus visiting new cities and playing shows is far more appealing than going to work. We did a small tour Photography by Andrew Benge
earlier on this year and are soon to be going on another one. It’s cool being able to visit cities like Bristol, Brighton and Glasgow where we’ve never personally been before. Leeds doesn’t have a beach so it’s a novelty for us…
“WE CAN NAME COUNTLESS YORKSHIRE BANDS THAT ARE INCREDIBLE AND WOULD MOST LIKELY BE TWICE AS BIG IF THEY WERE BASED IN LONDON.” WHAT IS HAPPENING IN YOUR WORLD RIGHT NOW? We have some new music coming out soon before we go on tour in November with our friends in Chest Pains, another local Leeds band. We’re going to Glasgow, Manchester, Lancaster, Bristol, 26
Brighton, Margate, London, Sheffield and Leeds plus maybe a couple more still! We are also working on writing and recording new music and will have more to come in the New Year. TELL US WHAT YOU THINK IS THE HOT TOPIC IN MUSIC IS RIGHT NOW AND WHAT MEANS TO YOU? In our opinion, not enough attention gets given to bands in the north. Lots of bands from down south hit the big time who we think are average. We can name countless Yorkshire bands that are incredible and would most likely be twice as big if they were based in London. Suppose that’s what happens with it being the capital city, but things like the press etc could probably shine some more light on northern bands.
GUIDE BOOK
HOW TO WRITE AN EFFECTIVE PRESS RELEASE FOR THE LOST - MUSIC PR & CONSULTING For the Lost is a West Yorkshire based music PR company run by Simon Glacken, who has spent the past decade working with the likes of 65daysofstatic, Anathema, And You Will Know us By the Trail of Dead, Paul Draper (Mansun), Mono, Darkthrone, Paradise Lost, Cradle of Filth, Maybeshewill, Black Moth, Orange Goblin, Bloodbath, Cult of Luna and Tesseract as well as festivals such as Live at Leeds, Best Kept Secret (Netherlands) and Be Prog! My Friend (Barcelona). For more information visit www.forthelost.co.uk
ADVERT
WHAT ARE YOU ANNOUNCING? You want to make it clear from the very start what the press release is actually informing people on. It could be a new single, an EP, an album, a track stream, a music video or a tour. The title of your press release is the first thing people will read so keep it short and to the point.
who you are so now might be a good time to outline how you formed especially if there’s an interesting tale to tell. Referencing other bands and artists you compare yourself too or you’re influenced by will give people an idea of what you might sound like and if they are a fan of one of those bands then they may take a listen to your stuff.
WHO ARE YOU? It may seem like a really obvious thing to say but unless you’re wanting to come across as all mysterious then as an artist you want to explain who you are, the story of music you play and where you are from. Include a nice promo picture too. If you’re a band then towards the end of the press release you should outline what everyone’s role is with in the band. Often reviewers will want to reference who plays what.
If you’re releasing new music you should talk about where it was recorded, potentially how it was written and generally what it’s about. Are you sharing a politically charged song, is it an album about love or death or did you write a whole EP about your dog?
WHAT’S THE STORY? For more established artists they often have a lot of years experience and history to call upon when their press releases are being put together but if you are a new band putting out your first single or EP then your story is only just beginning. You’ve already explained
QUOTE FROM THE BAND Press releases should be written in the third person but it can add a little extra weight and personality by adding a quote from a band member or two which can express their direct thoughts and opinions on the subject matter the press release is about. ANY INTERESTING FACTS? It can always grab peoples’ interest if there are some interesting facts about the band included in a press 27
release. For example have any of you previously been in bands that had some form of success before? Maybe you have toured around the country before or played festivals such as Leeds and Reading. Is there someone at Radio 1 or 6 Music that has been championing you on their show? PRESS QUOTES If you’ve had any positive reviews in the past especially from a major publication then including 2 or 3 key quotes towards the end will show what other places have said about you. LINKS Always include links to your website and social media as well as where people can listen to your music. If a site wants to write a news piece off the back of your press release then they may want to tag you into a social media post too. UPCOMING SHOWS Always include a list of your upcoming live dates so they can be included in any coverage that is run about you.
Words by Simon Glacken - For The Lost
WATCH OUT COMPILED BY ADAM WINCH-FURNESS (BBC INTRODUCING SHEFFIELD) AND EMILY PILBEAM (BBC RADIO)
REDFACES After a bit of a hiatus, they returned to the music scene in early 2017 with ‘Kerosene’. With a mix between Miles Kane’s early solo material and small hints of Tame Impala’s album ‘Lonerism’, this Sheffield act have been developing a sound that get better with each release. Proven through ‘Way Down’ which is a slow stadium anthem, they’ve shown that they’ve got what it takes to hit the big time with sell out gigs, and had their tune ‘Take It Or Leave It’ receiving Track Of The Week on BBC Radio 1. Their earliest point of BBC Introducing success was when they made in onto the stage at T In The Park 2015 and have been snowballing ever since. Be sure to keep and eye on next year’s festival line-ups for this lot. (Photo by Chase Hayden).
NOYA RAO
FLTCHR
Noya Rao are a really new act to us at BBC Introducing in West Yorkshire, so far they’ve only uploaded one tune to us - ‘I Feel’ - but it’s a track that’s really stuck with me. The electronic quartet perfectly blend elements of jazz and soul into their grooves, and Olivia’s delicate vocals are unparalleled. I’m hugely excited to hear more from Noya Rao in the future.
An artist that I really cannot get enough of right now is FLTCHR. A hot new hip-hop artist coming out of Leeds right now, and everything he touches seems to turn to gold. His EP Gentleman is the first thing this guy has put out, yet it sounds like the EP of someone that’s been an established artist for years. His tongue and cheek lyrics, the astounding production, and the tasty grooves are just some of the reasons this guy needs to get on your radar. ‘Style of You’ is arguably my Track of the Year.
PEAKES
VULGARIANS
LITANY
Competing as possibly the best new pop band coming out of Leeds at the moment, Peakes debut EP ‘Space’ displays a refreshing and catchy take on the genre. Lead singer Molly Puckering shows off an impressive performance across all tracks, but almost feel like she’s holding back for even more in the future... Something you would only realise after seeing the band’s incredible set live. For fans of Oh Wonder and Aquilo, this new act have worked hard to get themselves into a place to be picked up by the industry, with the hope of a very bright future. They’ve recently become successful applications for PRS Emerging Artists Fund with PledgeMusic and released a great and slightly darker new tune called ‘Still Life’. BUT, check out ‘Waves’ and ‘Space’ for good times.
Hailing from the Capital of Culture, noiserock quartet, Vulgarians, are a band you need to get on your radar. If the name isn’t enough to entice you (and it should be), then their EP Almost Instinct-Almost True, certainly will. It’s full of intriguing guitar riffs, intelligent songwriting, and menacing vocals that stamp the band with it’s ghoulish identity. They’ve just finished recording their debut album, have been playing a bunch of shows across the UK, plus some dates in Europe, and will no doubt be all over 2019.
Litany is the project of Beth Cornell and Jake Nicolaides, they’ve been making music together for quite some time now, and since releasing their infectious electro-pop into the world, they’ve garnered much attention online and elsewhere. They played the BBC Introducing stage at Reading and Leeds Festival earlier this year and were utterly amazing. Their latest single ‘Call On Me’ highlights the fabulousness of Litany, Beth’s voice and her talent as a lyricist. Keep an eye on these in the years to come.
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CARO It’s pretty much impossible to talk about exciting acts in Yorkshire without mentioning Caro in the same breath. Everything they’ve released thus far has been nothing short of exceptional, and the best thing about them is that all looks so effortless when performed live. The twists and turns in their music, combined with the ability to write a cracking chorus is hugely impressive, and places them so far ahead of the game. They’ve not released any new music for what feels like FOREVER, but I have a feeling next year will see them releasing some of their best stuff yet. (Photo by Andrew Benge).
OTIS MENSAH One of the most interesting, poetic hip-hop rappers that I have ever listened to (and watched). After performing on the BBC Introducing stage at Glastonbury and picking up support slots with Arrested Development, Lowkey and Wu-Tang Clang members - the CV keeps on building for Otis Mensah. Drawing musical inspiration from iconic artists such as Mos Def, Otis puts his own spin on his story- telling in all of his songs which gives a more honest meaning to his music. You can even see it on his social media accounts as well, where his interaction with his audience is very personal. I recommend songs ‘Creen n’ Crawl’ and “Aurora’ as his top bangers. He’s recently been formally appointed to the role ‘Sheffield’s first poet laureate’ by the city’s mayor Magid Magid during an annual literature festival as well which is incredible.
THE HOWL AND THE HUM
SOPHIE AND THE GIANTS
If someone was to make a film about your life, then I’m sure we’ve all thought about what music will make it onto the soundtrack. The Howl and the Hum made it onto mine, and I want it played right at the credits to open the floodgates for the audience watching. Why? Because their music makes you feel something. Self-produced with a warm tone, but combined with Sam Griffiths’ warm yet powerful vocals - there is truly something special going on here. They’re able to demonstrate a real contrast of emotion from set-closer ‘Godmanchester Chinese Bridge’ all the way to quirky and upbeat ‘Don’t Shoot The Storm’. A real shock if The Howl and The Hum aren’t soaring high in 2019.
You heard about them here first. Sophie And The Giants’ latest pop banger release ‘Bulldog’ displays the potential to be accessible across the globe. Having already toured with the likes of Tom Grennan, Yonaka and Reverend and The Makers there is definitely a bright future ahead for them. Sophie Scott’s vocals echo a dominant force that also comes from the same fountain as Florence Welsh and Debbie Harry, but these guys have an certain element of cool that allows them to end up on a variety of different line ups. They were also signed to Universal Germany after releasing just one song… mega.
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COME PLAY WITH US COMING SOON 07 DECEMBER TEAM PICTURE plus support Hyde Park Book Club 03 NOVEMBER HER FEST (SHEFFIELD) SHE DREW THE GUN plus Dead Naked Hippies, No Fixed Identity & more Picture House Social 27 OCTOBER ANY OTHER plus support Mabgate Bleach
RECENT EVENTS 20 OCTOBER HER FEST (LEEDS) STEALING SHEEP plus The Tuts, Venus, Dead Naked Hippies, 50 Ft Queenie, No Fixed Identity, Park Fires & more Brudenell Social Club 19 OCTOBER THE HOMESICK plus support Mabgate Bleach 14 OCTOBER WOMEN IN MUSIC Leeds Music Hub
12 OCTOBER WINTER plus support from L.A. Peach & Goldfishes Hyde Park Book Club 26 SEPTEMBER LGBTQ THE MUSIC 2 Hyde Park Book Club
CPWM009 PARK FIRES “Wake Me Up” THE BOXING “Circles”
NEW RELEASE
CPWM008 MAGICK MOUNTAIN “Zodiac” JON JONES AND THE BEATNIK MOVEMENT “No Brainer”
CPWM012 DEAD NAKED HIPPIES “YOUNG MALE RAGE” NO FIXED IDENTITY “1-2-3 COME PLAY WITH ME”
CPWM007 FURR “Another Fable” RIIB “Conveyor Belt”
RELEASES CPWM011 THE GOLDEN AGE OF TV “Television” ENGINE “And I Say” CPWM010 MANSION OF SNAKES “Mating Season” BROODERS “Lie” 30
CPWM006 TEAM PICTURE “Back To Bay Six” LAMINATE PET ANIMAL “Eve” CPWM005 HER NAME IS CALLA “Kaleidoscoping” DEADWALL “The Talk” CEILING DEMONS “Lost The Way” MAGGIE8 “Connected”
Supporting Inspiring Showcasing
Women in Music A three-year initiative for female (and female-identifying) music creators and industry professionals. So far projects have been led by inspirational artists including Beth Orton, Anna Meredith, Fatima Al Qadiri, Nadine Shah, Shiva Feshareki and Stealing Sheep. Find out more about opportunities and events Sign up to our newsletter at www.brightersound.com
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across the North of England
COME PL AY WITH DEAD NAKED HIPPIES QUEEN ZEE E MILY P IL BE A M - BB C R A DI O MAGICK MOUN TAIN ARE R APPERS T HE RE AL ROCKSTARS? HOW TO WRITE AN EFFECTIVE PRESS RELEASE CAROLINE SMITH - TOUR MANAGER & ENGINEER AND LOTS MORE...
BEHIND THE SCENES AND UNDER THE SKIN OF ALL THINGS MUSIC
PICK ME UP FOR FREE OR BUY ONLINE / #001 / OCT2018
