EMERGE MAGAZINE ISSUE 1 by EMERGE Magazine

EMERGE

ISSUE 1 FREE

SEPERATING MUSIC FROM THE NOISE

Does anyone care? NEW MUSIC . CURRENT ARTISTS. NO MORE RECYLED STORIES.

JAWS HABITATS WYTCHES BLACK TAMBORINES

Content ISSUE 1

editors letter 4 Contributors 5 Emerge chart 6 Column 8 HAbitats 10

NEW sound 14 Q& A: The WYtches 16 Poster 18 Jaws 20

The Black tamborines 28 Back of the shelf 32 Venue 34 Gigs 36

Reviews 24

Q & A: bowtie creatives 38

EMERGE SEPERATING MUSIC FROM THE NOISE

DOES ANYONE CARE? Editor’s Note DOES ANYONE CARE? Really who is still raving on about guitar music, about an alternative scene that isn’t grime, house or Drake? The guitar centric music press is tired and everyone knows it. NME is a waste of space in its new revamp and the rest of the big titles are recycling the same stories of “rock n’ roll” that have been told thousands of times with the occasional new photo. It’s time for new stories, new sounds and a new generation of artists to take centre stage. That is what EMERGE is here for. We take pride in shinning light on current acts that haven’t got the press attention they deserve. Each issue EMERGE will bring featured interviews with rising artists who make their own music and do so for authentic purposes. We strive to find sincerity and dismiss the mass production. In this edition we talk to the likes of Jaws, Habitats, The Black Tambourines and The Wytches. We get the real story from bands who have got where they are through relentless dedication, who don’t care about big labels or topping the charts. This magazine will be promoting the acts we think need to be heard as well as the acts who didn’t get on the radar in years past. So does anyone care? Of course they fucking do. We are EMERGE. Signed, Oscar Nicholas.

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Contributors Meet the Emerge Team

Oscar Nicholas Editor/ writer Originally from the bright lights and bustling streets of Basingstoke, Oscar finds himself lost most days but through it all has managed to become the editor of Emerge Magazine. He is a punk and indie fanatic and writes for multiple online music publication in between studies. Oscar is about to leave university after three years of studying journalism. He doesn’t have a clue what to do with his life. Twitter: @Oscarsaurusrex

Jacob Flannery Features Editor/ writer / photographer Jacob is a product of the quiet town of Sheffield, who likes to pronounce words in’t reyt way - apparently that’s far from the truth. He’s a music fanatic and is hooked on seeing bands live. Writing and photographing for various music publication in print and online, he’s now writing for Emerge on the latest new and growing talent out there. Unsure on where the world will take him, Jacob is just enjoying it whilst he still can. Twitter: @Jacob_flannery

Tim Price Writer/ design Chief

Born and bread in the heaving metropolis that is Merton, Bicester. Tim from a young age worked in magazines such as FHM, GQ and ELLE, working from home mostly. Until he eventually moved into The Guardian as music editor. Yet after some years made the transition to writing novels, one of which, “Lying”, won the Manbooker prize in 2013. [Although Tim is a creative mind he is also full of shit]. Twitter: @TimHudsonPrice

EMERGE CHART

the emerge #1

Easier Said - Sunflower Bean

Brooklyn trio Sunflower Bean sit at the top of the first ever Emerge Chart. They bring clear, crisp and highly reverbed indie shoegaze to the table. All members are under 21 and “Easier Said” encapsulates a post-adolescent lust for the new.

The dimly lit bedroom is so frequently a hub for musical creativity. Atlantan duo Sales have solidified there gentle lofi loops from a makeshift home studio. In “Ivy” the combination of Lauren Morgan’s unique vocals accompanied by drum machine and an elusive bass make an emotional DIY masterpiece.

Ivy - sales

#5 so tired - hockey dad

Surf-punk duo Hockey Dad take it back a notch with “So Tired”. The Australian band embody their genre so much just listening to them makes you feel like your on the beach. Quick guitars and bouncing drums stand strong.

#2 Be Apart - Porches Porches, AKA New Yorker Aaron Maine, has taken a change of direction is his new music. Most notably the stunning electronic backbone of “Be Apart” couldn’t be further away from the folky sound he established himself with.

#4 It Hurts Until It Doesn’t - Mothers Mothers have taken a rise in following lately which can clearly be attributed to the alluring vocals of Kristine Leschper. Ironically Mothers bear resemblance to the soft romance of Daughter, holding a chilled sound with dramatic undertones.

EMERGE CHART

chart #6

I Was A Fool To Care Mac Demarco and Jon Lent

The king of a all things alternative in 2016, Mac Demarco, has teamed up with his occasional keyboardist Jon Lent to create a mellow cover of James Taylor’s “I Was a Fool To Care”. It’s a classic quirky take on folk in a way only Demarco can do it.

Swinging guitar pop band Manuka Honeys have a sound suited to the nineties. The Brighton group’s latest track “Baby” is catchy and authentic. Twanging riffs make for a beautiful melancholy twist to generic guitar pop.

#8 Equivocator Peach Club

THE 1.

TOP

Easier Said - Sunflower Bean

2. Be Apart - Porches 3. Ivy - Sales 4. It Hurts Until It Doesn’t - Mothers 5. So Tired - Hockey Dad 6. I Was A Fool To Care - Mac Demarco and Jon Lent

Baby Manuka Honeys

7. Baby - Manuka Honeys 8. Equivocator - Peach Club 9. On the Lips - Frankie Cosmos

Peach Club have a vicious tone to them. Female punk vocals and distorted frustration give the Norwich band a bite. “Equivocator” is mean and unforgiving whilst at the same time showing a venerability.

Frankie Cosmos holds a soft demeanour in her music. “On the Lips” is a lo-fi track with Frankie singing about her innocent lust for love. The song’s pounding bass line sits most prominently under her gentle vocals.

#10 jungle - habitats

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On the Lips Frankie Cosmos

If there is one thing that’s missing from the British alternative scene it’s funk. Habitats have that and some. “Jungle” transcends from a bouncing guitar centric groove track to a huge expansion of “ohh”s, not dissimilar to an early Foals record.

10. Jungles - Habitats 11. Somebody to Anybody Margaret Glaspy

12. Sleepwalking - Bleached 13. Warm Magic - Jadu Heart 14. No Progress - Bad Breeding 15. Uncombed Hair - Yung 16. Clean - The Japanese House 17. Blown Out - Greys 18. Assurance - Lost Film 19. Violet - Miserable 20. Taking What’s Not Yours - TV Girl

COLUMN

DEAD BEHIND THE EYES

here are two types of music fan. I believe it’s a universal distinction between all of us. Firstly there are the fans that see music as more than just noise (I hope this is you if you’re reading). The fans that search further than a G and C chord aimlessly strum, who hunt for meaning behind melody and are disgusted by insincerity. The troopers if you will. Then there are the music fans that are happy to take whatever is shoved down their throat. Let’s call them the takers. These are the fans that financially hold the music industry together. Without the numbminded, hundreds of national treasures would never have made it. Artists like Kylie, Robby, The Spice Girls, nor the likes of their modern day successors such as Conner Maynard, Olly Murs and all the other shiny faced X-Factor semi-finalist turn pop stars just wouldn’t be marketable without them. In the grand scheme of things, if you fall under either above distinction, it doesn’t really matter. However, outside of the grand scheme and in the angry mind of the trooper stuck in front of a mid day Radio 1 show, it’s clear there is a lot of worthless shit on the airwaves. Even though it’s highly irritating, and often I wonder how I involuntarily know the lyrics to a Zayn song, this regular sort of shit music is tolerable. This is because it’s clearly shit and it would be a hard push to say it is anything other than just staple pop spaff. There is however a particular form of hate reserved for the artist that tries to hide the fact they’re a marketed melody praying on the simply amused. These sorts of artists nearly always start off as quite good bands. These bands may have even produced a decent tune or two in their early years. Most notably, the arbiter of the beige, extra medium, vanilla ice cream music experience: Coldplay. No other band is unanimously hated by almost every respectable music fan as they are. Coldplay reserve a special kind of resentment in the music world that their predecessors, U2, never achieved. The music that makes you sad to see people confuse as sincerity is the bane of the industry and frankly everything that’s wrong with our desperate, narcissistic culture. Giddy eyed frontmen - making music for a montage scene in a hospital drama. Acting as though they are multi-layered minds, whilst in reality all they’re thinking about is whether to have ketchup or mayo with their chicken nuggets for tea. What’s sad is that people, mostly within the taker

category, eat that shit up. People love Coldplay. People love Mumford & Sons. And people love the pioneer of melancholy nothingness, Phil Collins. You can’t blame them. These artists gain their fan base by producing really nice, emotional melodies. But that’s all they do, produce a nice melody, a meaningless empty gaze into the not too far-reaching distance, nice melody. This is why hearing The Fray can often make you vomit into your own mouth if it catches you off guard. The songs are well composed and at time the lyrics even hold mild conviction. But that’s all they do and it’s just not enough to be considered empowering and respectable. It’s music empty of deeper thought and sentiment. Now, most popular chart music (of course with exception) doesn’t really mean anything further than reinforcing general cultural ideologies. That’s fine though, they don’t need to. However, Coldplay and all the other empty, “clean alt-rock”, artists that scatter music play on a façade of depth. It’s a distraction through a hollow smile. It’s music that’s dead behind the eyes. What makes this insulting is that there are thousands of artists tearing heart and sole (excuse the cliché), giving true expression that remain substantially unheard. Acts like Daughter, The Districts, All We Are, Mothers, Porches and thousands more rarely find solace outside of 6Music. This is the tragedy that the bland, happy-go-lucky, no need for substance, Coldplay-centric music is creating - not that I’m hung up on it or anything. The message I am trying to get across is that, although it doesn’t matter if you fall under either fan distinction, artistic sentiment is vital and should be valued. If Bowie didn’t mean what he sung or the Beatles saw music as just a tool to become famous, they wouldn’t hold the historic credibility they do. If The Strokes or Radiohead forced their way into the charts with a lowest common denominator music video featuring animated chimps, they would lose respect. I guess that’s what it all crumbles down to; the respect of an artist being based on credibility and sincerity. I can except music with no depth dominating prime time Radio 1. However, I cannot accept the gawping eyes of millions towards artists creating a façade of meaning. Artists pretending to feel and pretending to create for purity. When in reality all they achieve is the perfect backing music to a montage scene in an ITV Wednesday night drama. ON

Habitats bounce, groove and a suburban escape FFO: FOALS, FRIENDLY FIRES

Next to a dirty brick wall in Basingstoke: (left) Joe Payne, (right) Michael Lawford.

asingstoke is a suburban town in Hampshire. It’s know for being a bit of a nowheresville, with little more than a shopping centre and a couple of half decent colleges. It doesn’t really have a happening music scene. As a whole, suburban towns too often get neglected when it comes to music and the big cities take presidence for obvious reasons. However, this doesn’t mean their isn’t quality and unique sounds coming out of English towns. Habitats are a band striding forward in representing the suburbs. They’ve recently released their second EP, “Jungle”, which was recorded stateside under guidance of producer Oliver Chasten (Moby, JayZ). They started from bedroom recording at a friends house in their teenage years and have evolved and pushed themselves into a new realm. They’ve got multiple tours under their belt and plays on the likes of BBC 6Music. They play an indie-groove style that’s exceptionally joyful, holding a bounce solid enough to make even the cruelest dictator nod to the beat. I meet half of the quartet, Joe Payne (lead vocals and guitar) and Michael Lawford (vocals and guitar), in th_e back of a Weatherspoon’s in their hometown of Basingstoke. We sit in the downstairs area of the pub, it’s dark but away from the overly merry locals by the bar upstairs. Joe is wearing a vivid purple t-shirt and Michael, who is considerably taller, wore grey. They are very chilled guys. Their latest EP “Jungle” was released in January. I asked if they think this new record is more mature than there last. Michael laughed, “Not more mature” and Joe continued, “We’re the most immature band you could meet”. Joe

FEATURE : HABITATS

"On the penultimate day we was in the studio from ten o'clock to about four in the morning. We were doing vocal takes and he was saying “you need to give it more energy. And we were like “"dude, it's“ four in the morning, what are you on about?"" goes on, “In terms of sound, this record is better quality recording. The majority of the songs we’ve got on the EP we’ve been playing and touring. So it’s quite a similar vibe”. Their dynamics have changed dramatically from humble beginning as a college band. Joe looks back on his first gig with the band, “The other three were in a band before, then they got me in and then we started writing and soon formed Habitats. Our first gig was, I think it was 2012. It was in Winchester, in the Railway Inn. It was my first ever show, I just remember being really embarrassed. It was just concentrating. I remember I had my tongue out the whole time. You know when you’re just concentrating so hard that you’ve got your tongue out.” Soon after they formed they recorded their first single. “So we basically put Diamond Days up online which was our first ever song that we wrote and recorded. It went down really well on SoundCloud and stuff. We couldn’t really believe it”, Joe explains. Habitats started playing in London more and more often after online attention rose. “It was good and we played around here locally quite a lot but eventually thought “fuck it” lets go London”, says Joe. “So we was playing London like two, sometimes three nights a

week. Just tryna get any gig we could. For the first year we basically just gigged as much as we could, anywhere, any party, any bar.” They put their first EP out and eventually got picked up by Club Fandango, a label and management agency. Joe tells about the informality of Habitats early recordings, “Well to be honest, the whole idea of the first EP was completely random. We literally put it out and we didn’t know what the fuck we were doing”. Habitats got a break when they were selected out of twenty-three bands to record in Hudson, New York State. Michael tells that their management, “basically became very pally with a guy who owns a publishing company. And he was looking for bands because he’s a producer as well, kind of in his spare time but he doesn’t record that often. Our management showed him us and he really liked our style. We met him once in London and he basically wanted us to come over but we couldn’t afford it. So he was like “yeah fuck it I’ll just pay” and he took us over there”. Joe attributes their recording venture stateside to “luck” even if that is debatable. The experience of going from home recording to working in an old converted church in Hudson, New York, was otherworldly for the band. Michael

tells that, “With diamond days it was all produced pretty much by ourselves with just an engineer to get it down. And then to go to America with some guy who’s like pretty high up in the industry to just be like “right this is what we’re going to do” and just lay it out. Having a structure to it all. We were like “this is fucking weird”. “We were doing 14 hours day, at least. On the penultimate day we was in the studio from ten o’clock to about four in the morning. We were doing vocal takes and he was saying “you need to give it more energy”. And we were like “dude, it’ four in the morning, what are you on about?”” Joe interrupts, “I was half asleep”. Michael looks at him and says, “I think you were asleep when we finished. We did the rest in the morning”. They’re a band who don’t seem particularly bothered about hitting the big time. Michael humbley explains, “I think that we just don’t think about it. And that’s how we’ve got so far now. It sounds a bit cliche but we’re just writing the music and letting our team deal with whatever”. You can hear this attitude in the music, it’s relaxed, it’s content. Joe sums up their cavalier, not give a fuck outlook, “You just gotta enjoy it man. Enjoy what you’ve got going on and if shit happens it happens.” ON

New Noise

NEW sound

The latest acts breaking ground.

Sundara Karma Chess Club / RCA Victor records FFO: CIRCA WAVES, PEACE

undara Karma’s single “Flame” exceeded over a million streams on spotify in less than two weeks following its release. Now their latest offering “A Young Understanding” and an increase in sold out shows, ensures this flame is going to burns exceptionally bright. “A Young Understanding” sees a more polished and refined sound trembling the speakers. It may appear slightly more commercialed alongside earlier material however it still reatins abundantely intellegent lyrics that are combined with catchy intrumental arrangements. Taking the love torn songwriting of Peace and adding

some poppy zest. Front man Oscar Lulu and co certainly seem to be the new buzz band for the younger music fans, with “Indigo Puff” blowing in the wind. Sundara Karma are constantly on the road promoting their typically-indie sound. Having just finished the remainder of their supporting slots with Nothing But Thieves, the band head out on their own once more, playing to the larger crowds this latest string of performances has surely beckoned. We don’t expect Sundara Karma to be lingering around smaller venues much longer, so if you’re after catching the indie dreamers in the most intimate of settings now is not the time to be hanging around and waiting. JF

VANT Parlophone RECORDS FFO: RAT BOY, BLOOD RED SHOES Politically charged violent punk and a flair for a chatotc gigs, Vant’s exploisve stage prescence is putting them on the map. Front man Mattie Vant often refers to the band as being from “planet earth”. With lyrics that tackle the issues knawing away in the singers head. Vant are never afraid to lash out at the system. Live shows have given the band a reputation for explosive performacnes. JF

TRASH CLASH RECORDS FFO: THE MAGIC GANG, JAWS

Trash are signed to the relatively small Clue Records. They’re from the quaint town of Chesterfield. Lazy lyrics and with a cult following, Trash can often be heard in the various, somewhat hidden, music venues of northern cities. Blissfully laid back, mellow melodies and a summery feel, have taken Trash too few and far support slots, joining the likes of Ratboy and Jaws. The boys often pop up at small metropolitan festivals are set to only build their repertoire further this season. JF

THE WYTCHES Q & A: batshit crazy "It’s quite a lot different, because I was only like nineteen when we did the first one and for some reason my voice was’well I don’t think it had dropped properly"

fter making your way through the grimy rooms of the Corporation venue and up the winding stairs, you finally stumble into The Wytches dressing room. It’s loaded with pizza boxes and beers immediately after their sold out show in Sheffield. A fiery live performance to say the least, The Wytches are riding the wave from their debut album “Annabel Dream Reader”. The LP infuses grunge rock with some surf-psych splurges. The release of new EP “Thunder Lizard’s Reprieve”, showcases a scowling four tracks that hint a new album of different sorts is on it’s way.

After meeting up with singer/songwriter Kristian Bell, bassist Daniel Rumsey, drummer Gianni Honey and their new organist Mark Breed, at an instore session at Dr. Martins prior to their Sheffield performacne. Emerge finally got the chance to sit down with most of the band, after their messy show.

Q: You’ve been playing live a fair bit now, how do you find that in comparison to recording? Kristian: I prefer the recording side to it, but there’s always limited time in the studio and once you’re out you always think, well, there was ten million things we could have done differently and you’re really kicking yourself for it. Whereas live, you just get into it. What is your writing process like? Kristian: I’ve definitely tried really hard and got really frustrated about not getting anything down. All the best things that come are when I’m in a good mood. You can always be more patient with it when. When we record it’s normally like we write it and then record… Mark: I found that when the best recordings come

Q & A: THE WYTCHES

out…well when we re-record songs like three times in a row, we start getting agitated that we aren’t getting the right sounds because we already think we’ve got the sound of the track. The best thing is when you write something new that night and just go for it. You know, you haven’t got any expectations, it’s the first time you record it and so that’s how it is. If you were to re-record something from the first album it would just be confusing, whether it’s better or worse you wouldn’t know. The new stuff, that’s what’s great. So, it was a couple of years ago when you released your debut album “Annabel Dream Reader”. Do you have another album on the way? Daniel: We have, we’ve recorded like ten songs already. We went in with the intention of doing the album and finishing it, but since we’ve had everything back it’s kind of like we want to do more. There’s a couple of tracks that we weren’t happy with so we’re going to go back in and do some more, just so we put something out that we’re really happy with, not just half happy with. What’s the album going to sound like? Kristian: It’s quite a lot different, because I was only like nineteen when we did the first one and for some reason my voice was…well I don’t think it had dropped properly (Laughs). So my voice is a bit lower now, it seems to get lower and lower all the time. Daniel: We did a lot of experimenting with sounds and pedals and stuff. Kristian: We used a lot of ring modulation [that’s an effects pedal in case you were wondering]. Daniel: There’s also a lot more organ on it, Mark played a lot more organ.

Mark: Recently I’ve had a piano in my house, well like for the last four or five years, so I’ve been picking up that. And how about lyrically, what’s this album about? Kristian: This is sort of less ambitious, more understandable. (Drummer Gianni walks in and grabs a bottle of whisky) He’s taking the whisky. For fucks sake… I guess as it stands, because we’re still going to finish more, this is more straight forward. I feel like you maybe alienate some people with weird lyrics, so this album is kind of just more standard. Mark: It’s like less fancy, more straightforward. Kristian: Yeah that’s it, less fancy. I feel like I was just trying to be a bit fancy before. Mark: It’s like Harry Nilsson and The Beatles, they always try keep it simple, and It’s always the best lyrics. Obviously there are like great lyricists like Morrissey if you want to throw that out there, but the straight forward lyrics are always great. The Beatles have never been faulted for it so… Kristian: They have a lot of crazy ones as well. Mark: Yeah like egg man [‘I Am the Walrus’] Kristian: What’s that one? ‘Happiness is a Warm Gun’, all the lyrics on that are like mad time. And not just the chorus either, but the verses and stuff all have like crazy lyrics in them. It just shows that with stuff like that, sometimes people really don’t have to have a clue what you’re on about to make it interesting, but I just kind of lost that at the moment. JF

Emerge

REVIEWS

REVIEWS how we rate: AAAAA

AAAA

AAA

PERFECT

SUPERB

GOOD

MEDIOCRE

SHIT

PARQUET COURTS HUMAN PERFORMANCE

ROUGH TRADE

AAAA

Still grunge, still moody. Third time round and on the mark.

rontman Andrew Savage, guitarist Austin Brown, bassist Sean Yeaton, and drummer Max Savage are their own stereotypes. The four look exactly the way their music suggests: gangly white dudes with ruffled button-ups, shaggy hair, and forlorn faces that scream “I Don’t Care, Really, I Don’t” However, despite this nonchalant persona, they create DIY rock at an amazing rate, pulling on postpunk and garage as need be while the mainstream’s all-encompassing jaws chew up almost everything they release (last year’s vapid EP, Monastic Living,

withstanding). The Brooklyn band’s fourth album, Human Performance follows this garage-y trend. This album relying more on their ability to mix thick rock with jaunty country guitar riffs. Yet it is not the cowboy come to the city vibes that are most impressive about this album but the progressively thoughtful lyrics. For example in “No Man No City”, Savage shouts at the top of his lungs, “Socrates died in the gutter” suggesting that even the great fall to undignified ends and that people end up the same way whatever we do in life. Another is the lyric on “Berlin got Blurry”, “It’s so

REVIEWS

effortless to be a stranger, that’s when they count I don’t put my hand up” suggesting the relaxation of anonymity. These thought provoking little lines are dusted over the entire album and really show the advanced song writing of both Savage and Brown. Yet what is so pleasing is that these small vocal gems are set to those old backyard punk riffs that makes this genre so easy to fall in love with. Indeed, throughout the album the instruments sound as if they’re rotating in a circle, taking turns stepping into the middle in order to jab one another playfully, particularly during a sloppy duel between guitars mid-song. This chilled, almost bumbling rhythm although slightly loose, is incredibly infections and has you bobbing your head unconsciously. Like “Sunbathing Animal” (their previous album), “Human Performance” is an easy listen that’s more nitpicky than initial plays suggest — but the band probably doesn’t want you to think that. They probably don’t want you to think anything, really. Don’t read into it, but do challenge it. TP

BLEACHED

CHRIS COHEN -

WELCOME WORMS

AS IF APART

DEAD OCEANS

THE

AAA

American quartet Bleached, felt they needed to escape from their L.A habitat for this album. Instead opting for the desert, focussing work just outside Joshua Tree, a small town in San Bernardino County, California. The arid air seems to have encouraged a nuanced album, different to their previous surf punk offerings. With dramatic pieces such as “Wasted on You” teamed with angry outburst like “Chemical Air,” Welcome the Worms is a true album, in the sense that it has peaks and troughs, rather than just an ejaculation of immature angst.

JADU

HEART-

WANDERFLOWER ANCHOR POINT

AAAA

Jadu Heart were introduced to the world at the sold out Anchor Point showcase at London’s Oval Space alongside Bonzai and Masa, who headlined the night. Wearing what appeared to be derivatives of Donny Darko masks, they swelled the venue with wobbly base sounds and twinkly bells, which were cut through by the excellent female vocals of Dina. One part of the duo that makes this heart, beat. The other member, Faro (both performers preferring mononyms) provides the beats and comparatively droning vocals that form the background to Dina’s more energetic inserts. The album itself, “Wanderflower” can be pretty well described by the first track, “Warm Magic”. As well as being the title song of their debut album, the two words act as a pretty accurate synopsis of the album in its entirety. Indeed, the album consists of sleepy, ethereal, base heavy tunes similar to those one might listen to after a rave

CAPTURED RECORDS

AAA

LA singer songwriter Chris Cohen, former member of Deerhoof, has a new take on full-stereo noise rock. His latest album “As if Apart” merges soundscape with elements of jazz creating soothing and unique music. Composed mostly of piano and guitar the record is like laying in listening to the rain with nothing to do. There isn’t really anything shocking, only pleasantries. Although this LP won’t define a generation anytime soon it has charm, which is as hard thing to grasp musically. Song’s like “Torrey Pie” and “Sun Has Gone Away” hold huge emotive effect made stronger by transcending bass tones. ON

has pushed you too hard. Specifically, “The Love”, second track on the record provides a more guitar based floaty sequence with a compressed in and out base loop that is very pleasant. “Jadu Temple” on the other hand is a pulsing love song with a hip-hop rhythm set to the atmosphere of a rainforest. And then there is Cursed. Half of this track is the sound of rain consistently falling on tarmac, which as an artistic statement makes all the impact of a wet flannel. Yet when the rain does finally subside, there is some really interesting concoctions of mad base sounds and underwater vocals that really bumps. What Jadu Heart bring to the table is one beyond just electronically infused guitar. It’s a blend of genre that creates something new and exciting enough to spark attention. TP

REVIEWS

SALES SALES (EP)

SELF-RELEASED

AAAAA Warming indie. A beautifully meloncolly summer soundtrack. Their debut EP will be hard to top

ZAYN MIND OF MINE SONY MUSIC

hen the word homemade is said, what’s really meant is beautifully rough round the edges. Homemade is authentic, whether it’s cake or a song. Sales are a duo from Atlanta, America who make indie loops in their bedrooms. Their sound is astonishing compositionally it is minimal and proves the cliche that sometimes ‘less is more’. Jordan Shih and Lauren Morgen have been together as Sales for just over three years. Morgan’s voice has a gentle yet unique tone, almost rasped at the corners. In their self-titles EP a melancholy dreamscape of bouncing

There are two words that every artist tries to avoid, ‘boring’ and ‘cliche’. The ex-1D member turn solo-artist has managed to achieve both of the above with ease. Sadly all that Zayn has done in his debut album, “Mind of Mine”, is emulate Drake badly. It’s not that the record isn’t well composed or that Zayn’s vocals aren’t pleasant enough, it’s just that the record holds little to no substance at all. There are glimpses of wonder in the LP but it is all overshadowed by the 2014-esque instrimentation. ON

guitar loops and drum machine create a sincere story of love and youth. Opening track “Renee” holds Morgen’s elongated crying vocals over clean guitar, cutting and chopping until it breaks with “took too long, you better leave” sung accompanied by just a bass. The EP continues with little to say for any flaws. Tracks “Vow”, “Chinese New Year” and “Getting It On” carry on the theme of suburban anguish. The EP concludes with a XXYYXX remix that feels out of character for Sales, however, you can see the merit. An album is predicted to follow, after the spacey melody spurred over this EP we can only expect more good things to follow.

The magic gang THE MAGIC GANG (EP) TELHARMONIUM

AAA

Brighton natives, The Magic Gang exist somewhere between present day house parties and ‘50s discos. Their syrupy sweet Weezer-style pop with its hard edges creates an interesting listening experience. Across five tracks, Jack Kaye and co. announce themselves as old school romantics.The down-inthe-dumps “Jasmine” and “All That I Want Is You” come off simple on the outside, but deep down they’re complex and confused souls, like Mark from Peep Show trying to find “the one”. TP

bad

REVIEWS

breeding-

BAD BREEDING SELF-RELEASED

AAA

Living in empty surroundings and being angry go hand in hand. Bad Breeding’s latest self-titled album is fuelled by such anger. They’re a band who do post-punk with such ferocity that even listening to them makes the veins in your forehead bulge. From start to finish the album is filled with contempt for everything that is ideologically righteous. The Stevenage band has made clear on several occasions their feelings about the upper-class and the inequalities that they bring to the rest. And it seems their not going to let this topic go anytime soon. Screams of “why should I except no progress” from vocalist Chris Dodd sum up the LP in forth track “No Progress”. The record is absolute in it’s emotions, there is no bright side here just relentless outcry, it feels authentic. Bad Breeding have a sound reminiscent of Leeds band Eagulls, although more agitated. They play to standard, no longer than two-minute, punk song length yet giving hardcore a more British tone. The group play with melodies more than most other punk acts, “Burn This Flag” holds a bass riff and guitar progression at time juxtaposed to Dodd’s harsh screeches. There are moments of obscurity, spews of ‘art-rock’ ambience with pained shouts intertwined. These do

not sound out of place yet don’t add much to the experience. Bad Breeding use imagery of suburban 80’s buildings for artwork frequently, this combined with their dark sound create a feeling of dystopian imminence. Tracks like “Corrupting Fist” and “Shame” take on the topic of corruption with brutal force. But honestly there isn’t really any moment on the LP that isn’t filled to the brim with rage. One thing can be said for sure is that Bad Breeding are a band who stand for what they say. Their hate for authority is sincere and relentless. The stand out song is the previously released single “Age Of Nothing” which as the tittle suggests follows a similar theme to the above. The track plays with more complex instrumentation, twanging guitar breaks and a build into screams of the songs tittle conclude. At moments “Bad Breeding” pushes obscurity and leaves a feeling of slight emptiness. This being said that may be exactly what the group was going for. Through all the feedback and anger it’s a LP proving post-punk is standing strong and even progressing - darker than some may choose, however, there’s no bullshit. ON

ON SCREEN The damned: don't you wish we were dead THREE COUNT FILMS

AAAA Yeah The fucking Damned, haven’t heard of them? I bet you have heard of The Sex Pistols though and The Clash. Well, while they were signing big record deals and attracting the majority of the media’s attention, The Damned were destroying venues and creating some of the best music of the punk era. Now, over 40 years on from the band’s birth into the counter-culture decade, that was the 1970’s, their insane antics have been committed to the screen in one of the finest and most violent music documentaries ever.

The film follows the band from its chaotic roots to present day tours. Along the way, the audience learn about what it’s like to shit on strangers beds and have full drum sets thrown at their heads. We hear from the members Dave Vanian, Brian James, Captain Sensible, and Rat Scabies what it’s like to continue a music culture outside of its chronological limits. The film was premiered at SXSW Festival last year receiving rave reviews and unanimous acclaim. TP

THE BLACK TAMBOURINES RAW

Backstage at the Victoria in Hackney: (Left to right) Jake Willbourne, Josh Spencer, Jim Sibley and Sam Stacpoole

STAMINA

FFO: BLACK LIPS, THE VELVET UNDERGROUND

n the backstage room of North London’s Victoria pub and venue, the well-travelled Cornish quartet, The Black Tambourines, sit between seven bands worth of guitars and amplifiers. The backstage is opposite the Victoria’s kitchen. A smell of frying beef dominates the room. They drove from Falmouth early this morning yet are surprisingly spritely considering. Jake Willbourne, bassist and vocalist, attributed this to coffee. Only recently returned from European tour dates, The Tambourines are headlining an event set up by the small independent London label, Art is Hard. Featuring a line up of indie, garage acts, all DIY sorts who happily wonder around the venue after their sets. It’s a close nit vibe. The label’s founders are even manning the merch table. The Tambourines have been asked to perform The Velvet Underground & Nico’s album in full to celebrate the record’s 49th anniversary. “Yeah, it’s nothing special” Jake declares. Lead vocalist and guitarist, Sam Stacpoole, adds, “It’s one away from a significant year. It’s like, not quite silver, but getting there. That’s kind of how we feel about our band really”. Jake jokes, “If we fail tonight then we’ve got another year until we really get it right”. Back in the summer the group released their second album, titled

FEATURE: THE BLACK TAMBOURINES

"AS YOU GET OLDER YOU REALISE THERE'S PROBABLY NOT GOING TO BE A MOMENT, OR THE GIG, WHERE WE GET SIGNED TO THE MAJOR LABEL AND SUDDENLY EVERYTHING IS EASY. YOU JUST GO BACK AND DO IT ALL AGAIN AND WHEN YOU'VE FINISHED, YOU REFINE IT AND YOU GET BETTER AT IT."

“Freedom”. They play a garage, surf-punk sound, more west coast of the US than West Country UK in all honesty. They’re energetic and chaotic, rift centric with a DIY ethos. Freedom’s charm comes from its authenticity, feeling like a creation not a construction. Which is true for all of their recordings. Six months have passed since their LP’s release, via Easy Action records. The record pushed them further into garage punk stratosphere. With decent coverage across the music press they are starting to get worthy recognition in the form of gig offers and a growing fandom. I ask if they have reflected on Freedom since it’s release? Sam explains, “The album actually came out two years after we recorded it. So I think we’d done all the reflecting we could possibly do on it”. Sam continues to elaborate, “We were asked to write the album by someone before we had it, and then we did it for them and that didn’t go through. So we ended up with an album to play with”. They had total control over everything in the recording process. Working from a studio in Falmouth, using a mixture of their own kit and that of their friends. “It’s not like you get an engineer and a load of gear and stuff. You know, we have

some stuff to play with and we get our mates to help us. They happen to be quite talented.” Holding power over every aspect of the record comes across in their music. The energetic rawness in tracks like ‘No Action’ and ‘I Wanna Stay Away’ put the Tambourines in the middle of the punk spectrum. Which is where they predominantly like to stay. All of their music could have been recorded decades ago. Not subject to modern influences, as much as bands like The Velvet Underground and the Ramones. One of the bands within the last decade they do however take influence are Black Lips. Jake, explains, “it’s quite funny, because we hadn’t heard of them and someone said we sound like the Black Lips. So we listened to them and we were like, “Wait we do””. Sam adds, “Black Lips were a big influence on us and we owe them a lot”. Their commitment to the band is obvious when we speak. A six-hour drive in their van from Cornwall to London is “kind of standard now”, as the Tambourines’ guitarist, Josh Spencer-Fletcher, describes it. From speaking with them it comes across that Sam and Jake are the more talkative half of the band. With Josh and Jim Sibley, who plays drums, chipping in on occasion.

They are relaxed, Sam has a sort of stoner vibe to him, like what you would expect of a Californian musician. There’s an easy, chilled tone to his voice. The truth is that The Black Tambourines are not a new band. They have been going since their college years back in the late naughties and are now in their midtwenties. “We were doing a music course and also in art classes together, so we bonded”, Jake explains. Sam adds on, “we were both in separate bands. Me and Josh were in a band together, Jake and Jim were in a band together. So it’s a super group of young bands.” He looks at Jake and Jim, “It’s like guns and roses together. You’re probably roses and we were guns”. Before getting past the interview formalities, a member of Grubs, another act on the day’s line up jumps in and jokingly says, “Hi, Owen Williams, long time listener, first time caller”. Met with laughter, Sam says, “He actually has our tattoo”. It’s a black tambourine on his under arm, bicep area. “It’s totally lit, we’ve all got it.” The indie-punk, garage rock scene isn’t covered hugely in recent years. However, The Black Tambourines are settled in the middle of it all. They know the other acts performing today and

praise a huge list of artists they’ve played with. The band’s profile has risen in the last year after Freedom and a tour across the UK and Europe. I was curious if they had noticed a difference? “Yeah. Coming off of tour, we had loads of people who were like “we’ve been following you since day one”. I’m thinking, “you haven’t and clearly haven’t done your research”. But we’ve definitely got better gig offers since “Freedom” came out”, answers Jake. Sam admits that he finds playing back home more fun than in major cities. Not in a way that he doesn’t enjoy performing in London and such. Jake says that people tend to be “a little less inhibited” in the bigger cities. To which Sam agrees and says, “Yeah, less inhibited. And also you get to like put on your own show and put your own line-up on, curate everything [when playing in Falmouth]. It’s sort of fun to curate the shows down there”. It’s clear that they are a band that likes to do things themselves, how they want to. Now back from they’re continental tour the band have new plans for the coming months. Jake, with an enthusiastic tone declares, “I’m pretty excited for what we’ve got planned. We’ve got some more

Europe dates. We’re going to play a festival in Austria next month. We’re going to Dublin and we’re going to make an album”. Sam adds, “Yeah we’ve got an album that we’ve toured and we’re going to record”. Then quipping, “Toured and record” to which he smiles. They are still yet unclear on where this coming record will be released, or even funded. The plan is to record the album as a demo and “set some feelers out”. Even though “Freedom” hasn’t been released for long, it’s been over two years since the band has recorded any new material. It’s a critical choice deciding what direction to go with in the new album. I asked them what should fans expect and if there distinct change in sound? “This is going to be our Pablo” Jake says. “This is obviously going to be a lot more musically accomplished. We’ve had, what two years to write it.” Jake goes on, “I wouldn’t say that we’ve haven’t stylistically changed that much rather than follow a natural progression. The songs we wrote at the start were three chords”. Sam jokingly adds, “Now we have five”. Although stylistically the band resemble the sound of their youth, their attitude is now more mature.

Their goals are no longer about hitting the big time. Jake explains, “I think that we started I had a set of goals that were very quickly achieved but we very quickly accomplished those goals. So we just constantly set ourselves new ones.” He continues, “We wanted to get some sort of physical vinyl single out, so we did that pretty quickly. And then there was tour and we did that. And then there was tour Europe and we’ve done that.” Jim adds, “Every tour we do we get better. Not only at playing but at organising it. Just to be able to keep progressing is the goal. Jake then says, “As you get older you realise there’s probably not going to be a moment, or the gig where we get signed to the major label and suddenly everything is easy. You just go back and do it all again when you’ve finished. And you refine it and you get better at it.” The Black Tambourines probably won’t get in the top forty any time soon but that’s okay because they don’t want to. They’re authentic and you can hear it in their music. Don’t expect them to go away because The Black Tambourines are in it for the long run. ON

BACK OF THE SHELF

back of the shelf

The records that got lost and went unappreciated. We bring them out of the dark.

SURF CURSE - BUDS

BIG JOY RECORDS

Best Track: freaks, pony boy

TEEN

SUICIDE

WASTE YRSELF

RUN FOR COVER RECORDS 2013 Anguish and slightly moot emotions make up Teen Suicide’s lyrics in the most part. Vocalist Sam Ray fronted the bandcamp project from his bedroom in Baltimore, New York. He recorded vocals with his laptop’s microphone creating a gentle tone, distorted round the edges. He openly admits to regretting the band’s name choice, however, it probably helped their circulation through Tumblr at the beginning. It’s a moany affair but one that deserves another look. ON

2013

t’s been three years since the Nevada surf-punk two-piece Surf Curse released their debut album “Buds”. It astounds Emerge that this record has not reached the great heights it deserves. “Buds” has everything a summer soundtrack needs to succeed: fast, reverbed guitars and laid back stoner vocals. It’s a record that makes you wanna give up whatever your doing, find your friends, get drunk on a beach and tell everyone your most embarrassing secrets, only to pass out, wake up and do the same thing the next day.

THE CAST OF CHEERS FAMILY SELF RELEASED 2010 Irish four-piece math-rock group The Cast of Cheers released “Chariot” back in 2010. They construct sharp looping riffs comparable to that of Foals. They’re a band able to build into crescendo with transcending subtly, their debut LP “Chariot” demonstrated how cut throat they could be with their sound. Tracks “Auricom”, “Goose” and “TigerFox” take bouncing guitars and make it sinister. The band followed the record up three years later with “Family”, an LP equally complex however a slightly more happy affair. ON

“Buds” is flawless. Tracks like “In My Head Until I’m Dead”, “The Smell Saved My Life” and “Freaks” hold deep sentiment. Struggles of anxiety, the dreams of youth and lost love underlay a fast-paced Californian rhythm. Jacob Rubeck and Nicholas Rattigan are a classic Bandcamp group who deserve beyond their status as just a quick-wristed punk duo. Surf Curse managed to slip past most radars whilst signing to LA label Big Joy Records. Perhaps it’s time to pull “Buds” out and indulge its restful chaos they do so well. ON

WU LYF

GO TELL FIRE TO THE MOUTAINS LYF RECORDINGS

2011

Wu Lyf sadly are mostly forgotten in 2016. They created huge hype building up to their debut album “Go Tell Fire To The Mountain”, only to breakup shortly after. Wu Lyf are a band who burnt fast and bright, retaining a small cult following. The Manchester quartet made rich atmospheric indie with harsh yelping vocals. They recorded their debut in a church and turned down major labels. After they hung up the towel all that was left was one reverb filled, furious LP. ON

VENUE

Radiohead performing their first ever gig in 1986 at The Jericho Tavern, Oxford.

The Jericho Tavern Go on a friday

"We try our very best to support local acts and talent, that is how the pub got big to start with and we don't intend to break tradition now"

t’s a Friday night in 1986 in central Oxford, there’s about 150 people in a pub. The crowd is quieted by an announcer on the small stage in the main room. A band is about to come on and play he says their name is On a Friday. People whir with anticipation and ease forward to the wooden platform erected at the back wall. The room is stuffy with heat from the many bodies compressed into one space. The faint aroma of spilled lager and urine mingles with the cassolette of women’s perfumes as the throng of people settles themselves along the bar. Then, as if conjured from thin air, Thom Yorke appears on the plinth. The other members of the band follow, they introduce themselves and begin to play. They play a set that would later form the foundations of their first album, Pablo Honey. This was Radiohead’s first ever gig, at The Jericho Tavern. That’s the kind of musical heritage that this venue has cultivated. But that was just the start. Supergrass, under the name Theodore Supergrass were signed here in 1994 and since then, a string of massive bands have cut their teeth in the humble, impressive acoustic cauldron that is The Jericho Tavern. Names like, Summer Camp, Tennis, Bombay Bicycle Club, Palma Violets and Foals have all found their feet here. Owner of the Jericho Tavern, John Kerr ,said, “We try our very best to support local acts and talent, that’s how the pub got big to start with and we don’t intend to break tradition now”.

The pub itself is made up of two bars, one on each floor. The one on the bottom floor is significantly bigger but the bar closest to the performance area is the one on the top floor. The only real drawback to the venue is the expense of spending an evening there. As it is located right in the epicentre of Oxford’s hip district, the prices make even some of the posh kids wince. All in all, with the intimate atmosphere, great gigs and amazing sound, The Jericho Tavern is a must if you ever find yourself in Oxford. Specifically: 56 Walton Street, Jericho, Oxford, Oxfordshire, OX2 6AE.

Where to stand The main upstairs gig area is L-shaped, with the bar around the corner. Towards the back there are banquettes and a few tables with seating. The best place to stand is at the front, or to hug the wall at the sides to get a good view. The stage is well raised, so you can see from further back in the room, however there is a step in the middle of the standing area that can make life difficult. But the venue is small enough to get a good view from most places, and if the upstairs bar is open it’s not too much of a hassle to go and get the drinks in without losing your spot. TP

GIGS

The defininitive guide to the best upcoming gigs May-July, 2016

May Sunflower Bean Father John Misty Lewis Del Mar Baby Strange and White Bleached Jagwa Ma Ben Caplan Breaking Benjamin Gold Panda Virgin Kids Adam Green

O2 Ritz, Manchester Roundhouse, Chalk farm, London The Lexington, London Bodega Social, Nottingham Academy 3, Manchester The Plug, Sheffield Arts Club, Liverpool KOKO, London The Dome, London Sebright Arms, London Hare and Hounds, Birmingham

May 16th, 2016 May 18th- 20, 2016 May 24th, 2016 May 24th , 2016 May 25th, 2016 May 25th, 2016 May 26th, 2016 May 27th, 2016 May 30th, 2016 May 31, 2016 May 31st, 2016

Electric Circus, Edinburgh Leopard, Doncaster Audio, Brighton Royal Albert Hall, London

4th June, 2016 4th June, 2016 6th June, 2016 10th June, 2016

June Laura Stevenson Pearl Skam Porches Bell and Sebastion

GIGS

Laura Stevenson performing at London Paladium last year.

The Emerge Pick Laura Stevenson and The Cans are the band to see this year, with Lauraâ&#x20AC;&#x2122;s enchanting vocals and the bandâ&#x20AC;&#x2122;s beautiful and complex melodies, they have the ability to win over almost any crowd. Origionally from Long Island, New York, Laura brings a raw, sweary edge to an otherwise soft and happy garage band. Catch her on her world wide tour in Nottingham on the 1st of June, in Birmingham on the second or Edinburgh on the fourth. Prices are very reasonable for such an amazing act. But tickets will run out fast so be sure to lock one down.

July Clay Will and the People Silver clouds Shanty Alibis Yung Bell The Melvins The Apples

Electric Circus, Edinburgh The Garage, London Sebright Arms, Brighton The Jericho Tavern, Oxford Plymouth Pavillionns, Plymouth Hare and Hounds, Birmingham Ort Cafe, Birmingham Art School, Glasgow Jazz Cafe, London

1st July, 2016 4th July, 2016 6th July, 2016 9th July, 2016 12 July, 2016 17th July, 2016 20th July, 2016 25th July, 2016 30th July, 2016

Q & A: BOWTIE CREATIVES

(Left) Josh Collins and (right) Tom PreceyBowTieCreatives

bowtie creative "You genuinely have to hunt people down like dogs sometimes"

inding musical gems is a difficult business. It requires dedication, stamina and a good ear. It also as it turns out, needs the prospective talent to fight with their girlfriends, but we will cover that later. Based in West London, BowTieCreatives is a visual and audio production team, which aims to promote the aspiring performers of today. The organisation is made up of Josh Collins and Tom Precey, two university friends who decided that they suited (excuse the pun) the business of recording and producing some of the freshest artists in the UK. Emerge got to know them over a Skype interview on a rainy Tuesday evening. So why the name BowTieCreatives? TOM: When we started it about 3 years ago at uni as just a thing on the side, at the time I really liked bow ties, and we were creative. It’s literally a simple as that. I started off originally with my sister and she put the name together. Emerge: How did you guys get started? TOM: My dad is a photographer and my sister is a video producer, so we had the equipment and the studio and at uni we had talented musicians as friends (gestures to Josh) so we thought why not have a bit of fun with this. And then we started to actually get some traction and more and more people became interested and then Josh came on full time. Then I’d say the last nine months it has gained ground. We have now got a lot more people involved like Josh’s brother Joe has come on board to help with social media as that’s how these

things flourish. What do you look for when you are looking to record new talent? JOSH: To be honest, my taste in music and Tom’s is pretty good you know, we don’t have the ear of Simon Cowl but I think we just trust our own instincts enough when we are looking for people. We always discuss as well, taking into account certain markets and the audiences that someone might appeal to. TOM: You have to get out there, go to lots of gigs and yes you see a lot of bad stuff but every now and then you come across some good stuff and even a few gems. That’s when it’s worth it. Yeah, we have watched a lot of your stuff, like Marcel?

But one of the most important things is definitely networking. Just got to be nice person, got to chat to everyone. TOM: (Interrupting) Spread love. You genuinely have to hunt people down like dogs sometimes. What do you guys do to help new artists and musicians? JOSH: Not only do we provide you with a video, we provide social media backing and promotion as well. TOM: We provide the platform for great musicians to showcase themselves. So what’s the best thing about making music videos?

JOSH: Oh yeah, I met him at an open mic gig and approached him, he happened to randomly be there, I think he had a big argument with his girlfriend when he was at home then when he left for some air came across this gig and came in. Then six months later we got him. Break ups make the best music.

JOSH: Filming days are the most fun. We try to go through gigs and up and coming events and going out giving cards is also quite fun. Because you meet all these artists at gigs and festivals and stuff then as soon as you mention that you produce videos they get well into you.

What are the hardest obstacles for rising musicians?

Who should we check out in terms of new bands and artists?

JOSH: I think as a musician you really have to trust your ability, if you think you’re good and people keep telling you that you’re good, you’ve sort of got to go with it and believe in yourself. Got to keep gigging, keep recording and buy equipment! Like for me personally I like to record in house, so doing the research and finding out what you need to buy to be able to record yourself.

JOSH: Daniel Abrahamson. TOM: Yeah, he’s Swedish and probably the nicest guy you’ll ever meet. So genuine, he gigs everywhere, he busks. His Instagram is great, he writes these long long texts. He has so much experience around the London scene as well. TP

EMERGE

SEPERATING MUSIC FROM THE NOISE

k i n g m a r s h a l l WE TALK TO THE MAN WHO COULD BE CROWNED KING

IN ISSUE 2