Zero Core issue 10 by Croatoan Design

zero core music, design, photography_______________________________________autumn 2014 __ free

ART - MUSIC - SKATEBOARDING

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Hello... and goodbye This is the last ever issue of Zero Core. It’s better to Bright burn out Light thanBright to fadeLight away. Thanks 06 for an amazing Kraffhics three years and even bigger thanks 10 to all the incredible Article photographers, artistsXX writers, and bands that have been Article a part of our journey. And to everyone XX who’s trusted us Article with their advertising monies.XX Everything we made went Article back into this zine, so thanks for XXbeing great guys. Article XX In our last issue we’re honoured to have the amazing Rae Morris on our front cover, and as ever the brilliant Anika Mottershaw is our back page. There’s also a chat with her inside, as well as the usual new music, ace pictures, and general all round two thumbs up fun. If you’re annoyed we’re ending, well, why don’t you start a zine for yourself? These pages began life as a tiny publication in Cardiff, photocopied after hours in the offices of BBC Wales (cheers guys) – if we can do it, anyone can.

Made by Jen Long, Adam Chard, Marc Thomas, Chris Chadwick and George O'Brien. Contributors in order of appearance James Perou, Andrew Backhouse, George Morton, Gen Williams, Louise Kattenhorn, James Williams, John Bell, Phil Stocker, John Platt, Adam Burbidge, Brad Inglis, Phil Hutcheon, Anika Mottershaw. Thank you Michelle Kambasha, Neil Wood, Jon Lawrence, Nathan Breazer, Rob Chute, Imran Malik, Itamar Shafrir, Harriet Brampton, Alex Darling, Vicki Wheatland, Toby Hawkins, Lisa Ward, Phil Hutcheon, Michael and Rachel at Moshi Moshi, Jon Dunn, Justine Dick, Duncan Jordan, Alex Bean, Dan Monsell, Joe Grant, Ryan Oxley, Tim, Toby, Lilas, Mike and Rachel at Transgressive (the sexiest record label on the planet), John Rostron, Simon Raymonde, Luke Jarvis, Nathan Warren. This issue of Zero Core was created in Cardiff and London.

IN ISSUE

New Bands 1. Treasureseason 1.

The synth-pop market is a saturated one. For the last five years or so the internet has promoted the genre with ruthless efficiency, as chillwave ascended from blogs and YouTube channels, morphing brilliantly into a radio-friendly equivalent that now feels totally at home on our airwaves and in our charts. Done right, it sounds as exciting and infectious as it has ever done; enter Treasureseason. Having caught a good few pairs of eyes from the aforementioned online platforms back in 2012 with their Anglo-Swedish setup, the young Norwich/London-based duo are enjoying something of a rebrand. Original vocalist Ida Olsson left Treasureseason towards the back end of last year to pursue other ventures, resulting in producer/songwriter Dave Powell joining forces with university friend and fellow songwriter Jess Bartlet.

This new look outfit nods more towards the likes of CHVRCHES thanks to a knack for sparkling synth lines and hooky melodies, and turns gently away from the more chillwave sound of nonetheless brilliant early outings such as ‘Border Crossing’ and ‘Secrets’.

With a busy run of live shows in London and Norwich – including an enviable slot at the latter city’s growing showcase event Sound + Vision – and new music in the pipeline for 2015, their pristine synth-pop can still be very much the sound of the season. soundcloud.com/treasureseason

‘The City’ and ‘We Live Fast’ are the gorgeous tasters we have of the forthcoming Julep EP, due for its self-release before the end of the year. Both cuts explore the pace and commotion of modern life, while uplifting through kaleidoscopic jumps and turns. Powell's penchant for clattering, punchy 80s-esque drum sounds and glistening filters provides something of a space age bed for Bartlet's gorgeous vocal, which has a breathy subtly to it, while also recalling the power of London Grammar’s Hannah Reid.

2. Nick Hakim In the space of seven months, Washington-based soul singer, Nick Hakim has released two EP's (titled Where Will We Go parts1&2), containing nine songs each as entrancing as the rest. It's nowhere near contemporary, sounding more akin to James Taylor, Carole King and Ella Fitzgerald than anything remotely modern. Timeless is not a term to be thrown around but here it feels appropriate. On tracks like ‘Cold’, and ‘Pour Another’, Hakim's sultry vocals float over lo-fi production, all honky-tonk piano parts, reverberating guitars and downtempo drum loops. Listening to Hakim gently whispering, “Where did you go?” on latest single ‘I Don't Know’, is like being transported to a candlelit jazz bar, the air heavy with dust and cigarette smoke.

3. Summer Ghost When Zero Core caught his debut London performance last month in one of the darkest dives of the city, it was delivered stripped back to the bare bones, Hakim appearing alone onstage with just a guitar and loop pedal in front of a crowd silent in reverent appreciation. What's most exciting about Hakim's releases to date, is the feeling that this is just the start. Two flawless EPs released without fanfare or label are enough to convince us that what comes next is something to get excited for.

Brutally melancholic, unflinchingly honest, and hilarious on Twitter; Summer Ghost is a complex character. The solo moniker of Among Brothers front man Alexander Comana, he creates rich tapestries of found sounds and plumbs them full of emotive sentiment, all delivered in a delicately affecting falsetto. An Italian growing up in South Wales, he played in several punk/ hardcore bands, an experience he brings to the live set. There’s something fairly intense about watching a man in a turtleneck fist pump.

The video, while hostile and vaguely depraved, still has that Summer Ghost sense of humour, knowing that despite everything Generation Meme can still curl a smirk. He’s earned comparisons to the likes of How To Dress Well and Perfume Genius who he recently supported in London, however Comana’s style is very much his own. And it’s one we hope he never changes. This is hurt pop perfection, sometimes in one hundred and forty characters. ilovesummerghost.tumblr.com

soundcloud.com/enhakim

Releasing his debut EP Feel4Ever on Kissability this month, it’s a scarring affair of pulsing synths and drilling beats, waxed with a discomforting intimacy. Lead track ‘Milk’ pushes and pulls with a strain of chorus that makes you feel Comana is on his knees in front of you. 7

Superfood

Words: Andrew Backhouse Illustration: George Morton gmortonillustration.blogspot.com superfoodjunk.com

Some bands will drive themselves dizzyingly delirious in their search for musical divinity. Then, there’s Superfood. “When we first started playing live, it was a nightmare. We were just trying to get through the set – we were really nervous. But now, it’s half an hour in your day you can roll your eyes into the back of your head. You can just go onstage and nobody’s wanting a conversation. You’re just jamming with your mates.” It’s ironic then that, while they might take the more laidback approach, Superfood are about to follow in the footsteps of La Roux, Everything Everything and Klaxons as headliners of the NME New Breed Tour. Having seen Klaxons surf the New Rave wave as headliners at the age of fourteen, staring at this date in the diary is bringing Dom as much delight as it is dread. “I just try not to think about it or we just get freaked out. We’re in magazines and festival bills. It’s crazy how fast things have moved.”

It was the first time we were writing with an actual drum kit in the room As bewildering as it is for Superfood at the eye of their own storm, with pop anthems as visceral and vigorous as ‘Mood Bomb’ and ‘Right On Satellite’, it’s no surprise that they're one of the most-loved bands around. “It was the first time we were writing music with an actual drum kit in the room. Instead of making the songs on a laptop in our bedroom, we had the freedom to use a drum kit – and I think you can tell. They sound like classic indie rock songs.”

You might think this is a bit immodest, but what’s the point in being coy with songs this good? We’re already dreading what their debut Don’t Say That will do to us. “It’s quite varied, but there’s a certain sound throughout all of our songs. There’s a lot of different moods – there’s upbeat and slacker in there – but what I think pulls the whole album is the production. Trying to make it not sound generic and making it come alive. Right now, we’re creating music that is a bit more groovy, and not just really loud guitars thrashing away. It wouldn’t sound out of place on a hip-hop record.” While there’s no freestyle rapping on Don’t Say That, despite having already recorded the album, Dom’s unsure whether they ever found their sound. “All the songs on the album are picked from different parts of the years, so we get loads of styles of writing as we were trying to find our sound. You can hear a progression.” “We’re closer to finding where we wanna be, but I think that’ll be the next batch of songs when we really hone in what we really wanna do. This album is a really good representation of who we are at the moment, finding our feet in the band together.” Even when they’re playing to a crowd of thousands of people, Superfood will always be four best friends jamming together. What could be better than that?

Cut Ribbons

Words: Gen Williams Illustration: Louise Kattenhorn cutribbons.co.uk

2014 has been a busy year of touring and recording for Cut Ribbons. The five-piece band from Llanelli, Wales have been releasing material since 2012, which has gained recognition from the likes of BBC Radio 1. I caught up with singer and guitarist, Aled Rees to discuss their new EP and to get an idea of what’s to come from the band in the future. As I speak to him he’s just finished the new single in the studio; it’s the last day of recording everything before sending the final edits off to be mixed in London. First up on the agenda for Cut Ribbons is releasing their EP titled Sail, featuring previous single, ‘Walking on Wires’. Why the re-release? Aled explains, “It’s a song that we’ve had for a good few years now, but we always felt it was a bit unfinished. We’ve been tweaking it since we wrote it, so when we went to Belfast last January we absolutely stripped it back to the vocals, we rebuilt it from scratch.” In the studio the band has a wealth of possibilities, it’s now feeling complete and it’s such a big song they had to run with it.

You’ve got more to prove, but that in itself is such a stimulant

Moving forward I bring up the topic of touring. They spent part of last year touring with The Fratellis where they played Shepherd’s Bush Empire, a venue they’d wanted to play for a long time. In May they joined Thumpers on tour, so they’re fairly used to supporting bands by now, but that doesn’t stop the expected worries. “There’s always that feeling of dread knowing all these people who’ve come to that show are there for the headline band, but when we’re headlining we know that the crowd is on our side anyway,” says Aled. “You’ve got more to prove when you’re supporting, but that in itself is such a stimulant.” January 2015 is currently the pencilled in release date for their album, described by Aled: “It’s going to be a lot more fun music compared to our previous material, it’s not quite so sombre.” There’s a sense of home-grown honesty with this band – it’s obvious that they’re just really good friends who love creating and performing music together. It goes without saying 2015 will be a defining year for Cut Ribbons as they look to release their debut album, accompanied by a headline tour. They’re definitely a band you’ll be hearing more from.

Since their first EP it’s fair to say that Cut Ribbons’ sound has progressed. “There’s a coherency to the new EP that the others had slightly less of,” says Aled. The track listing for Sail has been carefully formulated by the band, Aled continues, “We chose to have two bright poppy songs against two more sombre sounding ones and we wanted that kind of divide on the EP, because it makes the tracks stand out that little bit more.” 11

STRAND OF OAKS MON 27 OCT HOXTON SQ BAR & KITCHEN

ZOLA BLOOD THURS 9 OCT SHACKLEWELL ARMS

PALACE T OU WED 15 & SSUN OLD 19 OCT ST PANCRAS OLD CHURCH

SIVU TUES 14 OCT OSLO HACKNEY

HOOKWORMS TUES 28 OCT THE DOME

MY BRIGHTEST DIAMOND TUES 28 OCT VILLAGE UNDERGROUND

ST VINCENT OUT SAT 25 OCTSOLD ROUNDHOUSE

CASUAL SEX TUES 7 OCT SEBRIGHT ARMS

GLASS ANIMALS T OU TUES 14 OCT LD SO OVAL SPACE

THE ANTLERS FRI 24 OCT HACKNEY EMPIRE

THE AMAZING SNAKEHEADS THURS 23 OCT ELECTRIC BALLROOM

CLOUD BOAT WED 22 OCT ST GILES IN THE FIELD

SHINY DARKLY MON 6 OCT SEBRIGHT ARMS

FEAR OF MEN THURS 2 OCT CONCRETE

KAGOULE + GOD DAMN WED 1 OCT TOTAL REFRESHMENT CENTRE

WHITE LUNG WED 19 NOV BARFLY

ALEX G WED 19 NOV SEBRIGHT ARMS

COVES THURS 13 NOV CORSICA STUDIOS

BLACK BANANAS TUES 11 NOV 100 CLUB

WHITE LUNG MON 3 NOV SHACKLEWELL ARMS

HOLLYSIZ THURS 4 DEC ELECTROWERKZ

PERFUME GENIUS THURS 27 NOV ISLINGTON ASSEMBLY HALL

PARKAY QUARTS THURS 27 NOV THE LAUNDRY

THE NATIONAL + WILD BEASTS WED 26 NOV THE O2

PCPC TUES 25 NOV ELECTROWERKZ

KING TUFF THURS 20 NOV HOXTON SQ BAR & KITCHEN

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ASAF AVIDAN FRI 31 OCT & SAT 1 NOV ISLINGTON ASSEMBLY HALL

FOXYGEN UT FRI 31 OCTSOLD O VILLAGE UNDERGROUND

JUNGLE T OU THURS 30 SOCT OLD O2 SHEPHERDS BUSH EMPIRE

Deptford Goth

Words: James Williams Illustration: Adam Chard croatoandesign.co.uk deptfordgoth.com

It may surprise some listeners, upon first discovering the sumptuous electronic sounds of songwriter and producer Deptford Goth (aka Daniel Woolhouse), that he is not from Deptford nor, in fact, is his music in any way gothic. Of course, devotees of Woolhouse’s debut full length Life After Defo, released last year, will no doubt be familiar with the intimate and soulful moods his highly detailed yet minimalist music moves through. And the good news for Deptford Goth fans is that, with Woolhouse having moved from his flat in South East London to a tranquil but more invigorating spot by the sea, his second release, simply titled Songs, retains his signature style of tender, richly textured electronica, whilst beautifully encapsulating the natural landscape of his new home by stripping his sound back further, to its most essential elements.

I liked the idea of it being a title but not acting like a precursor in any way “It’s a clichéd idea but being by the sea grounds you a bit,” he explains. “I changed my approach to things but I was still working in the same way. It was a process of identifying what the elements in my music are, why they’re there, and then creating more room within tracks to let a key part become more prominent.” And was one of those key parts his stirring, signature vocal delivery? “I did want the vocals to become more prominent,” he says. “I felt, in a practical recording sense, I needed to make more room for that vocal line to exist and after that, as the album came together, it felt maybe more song led than palette led.”

Nowhere is this incorporation of traditional singer songwriter elements showcased more powerfully than on lead single ‘The Lovers’, where Woolhouse’s layered vocals are set soaring over some bold, moving piano chords and gently building washes of synths. “It’s a love song but without being gushy, instead thinking more about how we relate to each other within our traditional family structures.” This newly stripped-back approach makes for an altogether more intimate feel to this album, not only because it is satisfying identifying how he has worked all these lush sounds together – it’s a hugely rewarding experience through headphones – but also because Woolhouse’s knack for expressing himself in an almost staccato style, abstract poetry comes to the fore. “I’m not writing a diary, I’m not writing an autobiography, I’m writing songs,” he says. “No one is going to want to listen to me talk about the minutiae of my existence. Singing in a more general sense is a more gratifying way to go about it.” “Constructing things from words is a bit of a puzzle,” he adds, with a smile. I had just one final question: why Songs? “I liked its minimalism,” he says. “I liked the idea of it being a title but not acting like a precursor in any way. It’s a very simple label for what it contains. It felt simple and beautiful and I think it summed up how I felt about the record.” Simple and beautiful. As it happens, that’s how I felt about the record too. 15

Rae Morris

Words: John Bell Photo: James Perou jamesperou.com raemorris.co.uk

Walking into the dressing room of Shoreditch’s Village Underground, a smiling Rae Morris sits across the room as she gets her make-up done ahead of tonight’s show. “Can we take a break?” she asks, and welcomes me in. As I speak to Morris, what is initially evident is her polite and humble demeanour. When I ask her about Blackpool’s music scene, she hedges a little; cautious not to offend, but to-the-point nevertheless. “There aren’t that many small venues and most of the ones I used to play when I first started out have closed. I think it needs a burst of life but when it has that it will be better.” Perhaps it is no coincidence that the city’s musical vivacity has faltered somewhat since Morris was swept away by Atlantic Records when she was 18, signing to the major label when she was hardly out of college. Serendipitous as it may have been, Morris clearly had her sights set high in music, admitting that if worst came to worst she’d, “Probably just become a very bad music teacher who let everyone do their own thing.” Luckily that’s not the case, and far from it. Since signing to Atlantic she has released a string of acclaimed EPs that have been culminating in the soon-to-be released debut album, which finally has a name. “I still don’t know when to tell everyone. I think I’ll tell everyone in one go at some point, but making the album was amazing.” Flying out to LA last summer, Morris recorded under the auspices of the Grammy award-winning Ariel Rechtshaid, leaving her family home in Blackpool for the first time and moving into Rechtshaid’s brand new Silver Lake apartment.

Such a stark change in environments must be overwhelming, but Morris tries to take it day by day. “I never really look too far ahead. If I had known how long the album would take it probably would have freaked me out, but it’s been amazing and I feel really lucky that it’s such a long time because it’s been positive.”

With the right person you could do so many different versions of one song Whilst there may have been a delay in getting the album out in the open, when the product has as much quality as this does, there is certainly no rush. Her repertoire is a stunning balance of strippedback ballads ‘Dont Go’ and ‘Grow’ for example, and intriguing pop songs with lively production, such as ‘Do You Even Know’ and ‘Cold’. I ask her about the songwriting process, and if it can ever be frustrating deciding how far to take a song. “It’s a really difficult one because sometimes you know exactly what they are and there are quite a few tracks on the record that I just knew had to be simple and stripped back, and they almost have a life before you even start recording them. But then some songs could just go in any direction and with the right person you could do so many different versions of one song.” Indeed, since her establishment, Morris has worked with a host of peers, which is perhaps indicative of the subtle varieties in her songs. ‘Cold’ for instance, makes use of a call-and-response with Ben Garrett, aka Fryars, who has since produced two of her EPs.

Naturally, many interviewers have touched upon Morris’s involvement with Bombay Bicycle Club. But meeting her before her own headline show and with her debut album on the way, I felt it unnecessary and perhaps somewhat insensitive to bring them up, but she is happy to mention them, and so we discuss her performances with them. At this year’s Reading Festival, Morris played a late set on the BBC Introducing Stage, and within minutes of its close joined Bombay on the NME stage for ‘Luna’. “It was actually scarier doing the Introducing Stage because I felt like there was more pressure on that, and by the time I got to Bombay I was just ready to have a good time.” To accompany her songs, Morris has an interesting set of music videos. Each seems to concern a sort of physicality, from fragility in ‘Do You Even Know?’ to elasticity in ‘Skin’. The latest video for the single ‘Closer’ uses visual illusions to disguise the body in different environments.

There is, then, certainly more to Morris than a humble, wide-eyed singer-songwriter from Blackpool. Her art is coherent, mature, and her performances are as fragile and exquisite as they are powerful. She speaks of playing ‘Don’t Go’, a song that exemplifies this duality live, “It’s like every time it takes on a new meaning. I know a lot of people probably say that but it really does. You can almost start to listen to your own song as though you’re a listener and interpret it again.” And so while she takes life day by day and doesn’t like to look too far ahead, she certainly seems to be enjoying the present, and there is a radiating sense of appreciation from her, not least from her beaming smile. I play devil’s advocate a little and ask her to look ahead into the future for me, if only for a minute. “I just want to keep making albums. I want to make another one!” We’re still waiting for the first, but have no doubts it will be worth the wait.

We're covered in this big organ that’s super sensitive and that’s just how I feel I wanted to know whether these were merely visual metaphors for a lyrical theme or if there was a visual interest invested as well. “I think as a human being I react largely off other people. Human contact and interaction, and skin felt like such a close contact physical thing and an amazing way of describing all my feelings. It’s just so simple because we're covered in this big organ that’s super sensitive and that’s just how I feel.” 19 19

Anika

Words: Jen Long anikainlondon.com

For the last three years there’s been something magical about handing a copy of Zero Core over and watching as someone flicks through and eventually hits our back page. Watching as their face contorts into a mixture of confusion, through amusement, and ends in a massive grin. That’s the effect Anika Mottershaw has on people. She’s been our artist in residence since day one and relentlessly her work provokes reaction. So I figured for the final issue, we should have a chat with this very idiosyncratic genius.

Isn’t that insane? I went to two hundred and fifty gigs in one year “I started doing comic books when I was maybe like seventeen,” she muses over a disseminated plate at Nandos. “Jeffrey Lewis played a show in Ashford. Nobody ever played in Ashford, ever. I went to the show and I bought all of his comics and then I was inspired and started doing comics. Then I sent them in the post to him and he wrote me back and said, ‘I really like your comics.’ I was just like, ‘Oh my goodness!’” Anika’s first book of comics was published by Something in Construction when she was the enviable age of twenty-one. “I hate it,” she scowls. “Because in those comics I’m just hanging out by myself all the time. And then I go to a gig and then I eat a banana. I don’t know why anyone else found that interesting.”

She moved to London for University, but quickly found a better passion on the sticky floors of the capital’s venues. She sighs, “I did one year of Uni. I hated it, hated everyone on the course, I hated everything. Meanwhile I was having this amazing time exploring London. I used to go to a gig every single night. Isn’t that insane? I went to two hundred and fifty gigs in one year.” Insane, no. Expensive, yes. And how did she afford so many gigs? “I had my student loan” she shrugs. “So my whole student loan went on gigs. But also, and this is painfully sad to think back on, I hated my halls. This was six years ago and I was a million times more nervous and shy and I hated going in the kitchen. So basically, that year I lived on bananas and Nutella. No kidding, coz I could keep that stuff in my room. It’s kinda sad.” Sad it is, but higher education’s loss has been our gain. Not only does Anika manage bands and work at the esteemed Bella Union label, she’s also one of the most loved people in independent music. And there’s still plenty of new works in the pipeline. “I’ve got an idea that I really want to make into a TV show,” she whispers, as an internal struggle whether to share or not ensues across her face. “It’s called Placino, and it’s about a placenta themed casino. But I feel like I don’t have the means to make a TV show, so what I might do is turn it into a comic. I wanna keep my options open.” She leaves as I sit grinning.

(Main image) Yogas

(this page) 1. Jabba in Battersea 2. Tinder 3. Creepy 4. Apples

James Perou

Words: Phil Stocker jamesperou.com

Meet James Perou. He was described by NME as having, “A deep seated addiction to using instant film.” His predilection is taking Polaroids of bands, specifically. “Yeah, I think that’s fairly true, I've got digital cameras too – but I fell in love with Polaroid film and I started using it for a load of personal stuff for fun.” He started taking Polaroid shots of bands in December 2007, and his back-cat is impressive. Including Carl Bârat, Diplo, Haim, Phoenix, 1975, Swim Deep, Chic, Lonely The Brave, Paramore, The Aquabats (amazing superhero outfits!) and er, Chas & Dave! Anything you want to share with us, James?!

That shaking does fuck all; It might even fuck it all up “I include people because I either like their music or I like them as people. Chas & Dave was weird. It was the first and only time I went to the Albert Hall. I don't own any of their music; that’s what the internet's for!”

(Main image) Polaroids, 2009 – 2014 (Opposite) 1. The Hives 2. Tubelord 3. Blood Red Shoes 4. Amanda Palmer and The Grand Theft Orchestra

When you wheel out the camera and people hear the sound as the film comes out, even tour-ravaged bands usually coo appreciatively as the photo slides out of the camera. “There's definitely a nostalgia factor that works in my favour,” adds Perou.

Once you’ve taken the shots, how many of your subjects pick up the photo and shake it around? “I do get a lot of shaking, and its always like an educational part of the process when I explain how it actually works, and that shaking does fuck all. It might even fuck it all up. Outkast were on tour this summer, and I really wanted to take their picture and to bring it up in conversation with Andre 3000, ‘That line in your fucking song ‘shake it like a Polaroid picture’ – NO! Don’t”. Perou has a ‘one shot per person per band’ rule. Does he ever feel the pressure? “I rushed my Iggy Azalea shot – it’s a bit skewed. BUT there's people I know I should get another more interesting photo with, as one photo doesn't reflect who they are”. Perou made a promise to himself – he's going to continue taking photos with original Polaroid Film (although he shoots with film and digital too – including this month's cover and the examples over the page). They stopped making that in 2008, so getting hold of it is getting tougher. “I have a ‘dealer’ on Ebay.” And even if you do get your hands on some, there's a strong chance its degraded by now (purists say the imperfections make better photos). “On average the shots work alright. Though when I finally got Kasabian, it was a shit film. Occasionally you get defects, but they can look cool. My favourite example of that was with Man Like Me. I took a pic of one of the guys and got a fairly good standard shot. The other guy had a fag in his mouth and pulled a really sour face and his shot had a load of defects with the film, and it actually reflected the expression on his face. Every time it fucks up, it usually turns out well.” 25

Reviews 1. Twin Peaks Wild Onion Communion 27 October 1.

Twin Peaks’ debut LP was rushed out from frontman Cadien Lake James’ basement so that the quartet could sell it on tour. Less than a year later, they have relished the opportunity to spend more time developing its followup. But don’t let that fool you into thinking it is any less proper rock n’ roll – they’re a band true to their roots. Tearing yourself away from Wild Onion, from the Chicago garage rockers, the first thing that springs to mind – other than the impulse to set the record flying for one more spin – is how very apt that album title is. For one, Wild is right on the money; the album feels like a riotous nostalgia trip through the rocking 60s, with these four young 20-somethings, overdosed from indulging in an unhealthy amount of classic records, as our eager tour guides.

They just love their old-school rock and they seem to revel in blasting us through all manner of punked-up garage (‘I Found A New Way’), catchy blissed out 60s pop (‘Mirror of Time’) and, wait for it, soaring saxophone interludes (‘Stranger World’). And this is where the Onion comes in. As well as the obvious comparisons to the much-coveted vegetable – the production is delectably raw, it’s powerful, it dominates your senses – you feel there is a tongue-in-cheek selfawareness of the fun being had with their influences here, that’s almost akin to the laughs being had by The Beatles with their self-referential track ‘Glass Onion’.

Twin Peaks make no effort to hide away from their influences but this is not to say they do not embellish these hugely infectious tracks with their own unique flair. There’s the surf-inflected guitar leads of ‘Fade Away’ or the gorgeously plucked acoustic solo that springs out of lead single ‘Flavor’, which showcase a finesse to their song-writing that should not get lost in the sheer exuberance of their delivery. I guess it’s fair to say, this onion has layers. Words: James Williams www.twinpeaksdudes.com

3. Sivu Something On High Atlantic 13 October

2. Foxygen ...And Star Power Jagjaguar 13 October Foxygen call …And Star Power ‘A cinematic auditory adventure’ and France and Rado are clearly method actors. The double concept album format and their off-stage antics are almost parodic, but they find a staggering range of voices, taking the form of Smokey Robinson, Mick Jagger and the music in between with equal panache. Tongue super-glued to cheek, their avant garde chops give it the charming, impish sincerity of childhood friends playing rockstar dress-up; on ‘Overture’ they don their Fleetwood Mac costume for a piano-based power groove which cuts itself short, only for Foxygen to whip off their shirts and bog their eyes like Iggy Pop on ‘Star Power Nite’.

That Mac costume is stored carefully for a quick change act during ‘Cannibal Holocaust’, and it’s a trick they love to play; jumpcut mid song or cut short midsentence, leaving your foot tapping to silence. And they are clearly precocious enough songwriting talents to wear their legendary influences on their sleeve, each track buzzing with an authenticity that sets them apart. Single ‘How Can You Really’ is pure Motown, with a hook to make Smokey weep. ‘Freedom’ sounds like a track cut from Exile on Main St. and it’s this brilliance that drags you grinning into their rose tinted vision of the 60s. It’s free love and acid-trip bright like a luscious, Lynchian dream. It’s Foxygen: now available in Technicolour.

James Page borrowed the title for his debut album from a letter written by Van Gogh about his evocative 1890 painting Sorrowing Old Man (‘At Eternity's Gate’) and, although it’s safe to say at 24, Sivu is not an old man, sorrow runs through the veins of Something On High. Having moved to London from the sleepy St. Ives in Cambridgeshire (see the soaring string interlude ‘Rumination’), Page draws on the emotions of reverse isolation, coping with major change and harking back to what has been left behind, to create this eerily brilliant record.

From it’s In Rainbows opening to the bucolic beauty of ‘Miracle (Human Error)’, ‘Departure’ and the hidden ‘Family Tree’, the 11 tracks are dark, haunting and thought provoking, aligning Sivu with Bombay Bicycle Club in Flaws mode – indeed his vocal regularly recalls Steadman’s – and other UK alt-pop leaders Wild Beasts. There’s anger too though: ‘Love Lives In This House’ stands out as a building, distorted guitar-led tale of unnerving love with his voice developing from a whisper to a cry. ‘Can’t Stop Now’ is our upbeat piece of pop-tinged respite but for the most part Page embraces idiosyncratic melancholy and does it very well indeed. Words: George O’Brien sivusivu.co.uk

Words: John Platt foxygentheband.com

4. Alex G DSU Lucky Number 10 November Pennsylvanian Alex G has been crafting meticulously lo-fi indie classics in his bedroom for the last few years. A hero of DIY message board fandom, his sentimental works maybe fuzzy and flawed, but at the core there’s songwriting gold. Self-releasing online, this is his first full-length venture, getting a vinyl release via New York’s Orchid Tapes and a quick scout online shows it’s already sold out. And rightly so, this is the kind of album you can keep going back to. It’s vibrant in places and deeply melancholic in others. It’s layered with a multitude of careering guitar lines, invasive percussion, and G’s voice which seems to transform from track to track.

5. Damien Rice My Favourite Faded Fantasy Atlantic 3 November DSU begins with a stutter before a piercing melody shakes the record to life. On ‘Promises’ it goes all Fleetwood Mac guitar tone funk, while ‘Harvey’ sounds like the first time we were treated to Wild Nothing. There are so many little tricks and nuances to DSU that keep you gripped throughout. Perhaps it’s the freedom and space that working alone in ones bedroom affords, but you feel like these are adventures that had G smiling as he pressed record. This is an album bigger than the bedroom. Words: Jen Long luckynumbermusic.com

Ssshhh listen, is that Damien Rice? No Damien Rice hasn’t released any music since 2006, it can’t be. Well it is, you dafty. It is. The man from Kildare is stepping back onto the stool and into the sombrely lit spotlight with his new album My Favourite Faded Fantasy. Thankfully, fans of 2002’s O or 2006’s 9 will not be disappointed and can expect their heart strings to be picked and strummed until the rest of the strings section comes in for the bridge. In essence, the record bears similar gifts to its two older brothers: a balance of folky pop rock and romantic reflections backed up by those strings. There seems to be a bit more going on in general though, and not just because of more robust backing.

Even without his former band mate Lisa Hannigan by his side, each track feels fuller and more developed, probably due to Rick Rubin’s involvement on the record, who brings with him no small amount of experience in this arena. The most striking element about these eight songs though, is the sense of sincerity. Going from one track to the next feels like going through the soundtrack to his most emotionally-laden memories. It draws you in and keeps you invested right until the close. Add to this the aspect of conclusion that runs through the album, and what is created is a mostly sombre retrospective view across the artist’s most personal moments; enjoy the view from 3 November. Words: Adam Burbidge damienrice.com

Live Raury Red Gallery, London, 7 October Age is just a number. That’s what people say, but in music it means so much more. Youth sparks attention, particularly from prying industry eyes looking to nurture a raw talent from embryonic beginnings. Look at the astronomical success of Lorde: the pop noir starlet completely exploded out of her native boundaries at the age of 16 thanks to the maturity of her sound and most notably her lyrical grasp and presentation of relatable, youthful concerns. Tonight the latest prodigy headlines his first London show at Shoreditch’s Red Gallery, in one of the biggest storms of industry buzz since the aforementioned Kiwi first came to Town. Raury turned 18 this year, has every noteworthy blog behind him, has Sony Records behind him and, if rumours are to be believed, Kanye West beside him. His Indigo Child ‘project’ appeared as a free download in August: the 13 track mix-tape-type work features breakout tracks ‘Gods Whisper’ and ‘Cigarette Song’ as well as regular interludes of crackling conversations with his mother concerning his future. It's an interesting, sonically diverse introduction to Raury without being the finished article by any means.

The first and lasting impression of Raury live is his relentless energy and spark. Dressed all in red (see venue name) and with trademark wide-brimmed hat, he flies around the stage, throwing water at the sold out crowd, yelling through and between tracks; it's refreshing and exciting to watch. Surrounded by an incredible band, the atmosphere created by ‘War (part one)’ and the genuinely heavy ‘Chariots of Fire’ is what we expected – intense and eye-catching. But a slightly awkward cover of ‘Bohemian Rhapsody’ and an elongated slow jam, punctuated by handing out signed vinyl, loses attention and quells momentum. His brilliant SBTRKT feature ‘Higher’ doesn't show off his undoubtedly masterful rap skills in this live environment, as he shouts out above the wonderfully weaving backing track below. At this stage it does feel more like Rawry but age and – most importantly – the industry is very much on his side; it’s hard to imagine anything getting in Raury’s way to the top. Words: George O’Brien Photo: Brad Inglis bradinglis.com weraur.com

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PHIL HUTCHEON: Rolling the DICE twitter.com/philhutcheon dice.fm

I was eight when I went to my first gig, Motörhead. Looking back at the photos of me dressed in cherry Doc Martens and a shaved head, I kind of wonder what my mum was thinking. But whatever it was led me to a life where – no matter how hard I tried – I’ve always ended up working in music. Obviously I did try the route of being in a band. For three years I was singer and guitarist in a band called Drug Puppies who were inspired by Sonic Youth and Pavement, except I couldn’t sing and was pretty shit at playing guitar. We were terrible and thankfully you never saw us. So at the age of 16 I started promoting shows and since then I’ve run a record label (Modular) and managed acts around the world (Deadly). And throughout the years I’ve seen so many incredible bands and DJs, but the one thing that has consistently sucked is buying the goddam ticket. Ticketing has always been the dullest part of the industry, but it’s also now one of the most important. It’s often the first interaction that a fan has with an artist and the most frustrating. From an artist’s perspective it sucks since they have limited control over the ticket price or over tickets getting onto the secondary market.

I never wanted to start a ticketing company, but last year I had enough. So I decided to get a gang together of the best designers, developers and music people I know, raise money, and launch something to help grow the music industry. I partnered up with a company called ustwo who created the amazing game Monument Valley (it won the Apple Design Award this year and is stunning), and last month we launched DICE. DICE is 100% mobile and focused on artists and fans. It’s curated and limited to a maximum of 200 shows at any one time. We don’t charge booking fees and you buy tickets instantly. No more captchas or long input screens. We’ve already got the likes of Foxygen, Jack White, Matthew Dear, Sebastian Tellier, Superfood, East India Youth, Ariel Pink and Merchandise on board. Also, DICE can sell 5 million tickets an hour – the engine is awesome. While we’re only in London now we’re planning to be throughout the UK early 2015 and worldwide soon after that. It’s our bet that fans want to discover artists and see more shows, and we’re here to make that easy, finally.

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2014 releases from Bella Union ARC IRIS I BREAK HORSES XIU XIU MARISSA NADLER HORSE THIEF TINY RUINS M T. R O YA L

M Y S A D C A P TA I N S G R E AT Y T E N E ELECTRIC WURMS PETER BRODERICK 2:54 P H I L I P S E LW AY C E L E B R AT I O N THE FLAMING LIPS J O N AT H A N W I L S O N w w w. b e l l a u n i o n . c o m

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