DEBUT Magazine

Dèbut Original Music Magazine

Issue 1

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Wolf Alice| Courtney Barnett | Viet Cong Jamie XX | Frank Carter and the Rattlesnakes Sly Antics | Hinds | Halsey The Coming Lyric Revolution

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Dèbut

Magazine 2016! Hows about that huh?

Start the new year in style and check out our specials on who’s tipped for the rest of the year as well as who surprised, impressed and generally entertained us throughout the last few months. Happy hunting music fiends.

Issue 1, January 2016 © Holmesblogs Media.

Get in Touch: E. Jack.holmes26@hotmail.co.uk T. Holmesblogs.tumblr.com Tw. @Holmesblogs All rights reserved. No part of this publication may be reproduced in whole or in part without the explicit expression of the publisher. The views and opinions expressed within this publication do not necessarily represent the views of the printer or publisher.

Editorial: Jack Holmes Production: Jack Holmes Graphics: Jack Holmes Katina Petrou Photographs: Jack Holmes

Participating Record Labels

Contents 12

18

10

8

19

20

24

26

22

LYRICAL GENIES

This months pick of the singles: 34

28

Album R

Looking for some juicy new albums to This week DEBUT brings you a plethora electro epic, to ‘Halsey’s’ lukewarm ‘Bad promise you we’ll save you the time of current world of music yourself. So read on

Album Reviews

Reviews

sink your teeth into? Look no further. of new material from ‘Jamie XX’’s post dlands’. It’s not all good, but we can having to research the best bits of the n, and find something new to obsess over.

W

‘ olf Alice’ have had a deliciously deceptive rise to fame. Beginning as a humble two piece acoustic act in 2010 before adding the jolt of electric elements along with two additional members that bring us to the ‘Wolf Alice’ lineup of today. Their eclectic nature could easily have pushed them down into the most niche corners of the indie underground, however to cut a long story short, ‘My Love Is Cool’ is one of the most original, yet accessible albums you’ve heard in years. How does it pull it off you may ask, allow me to explain.

Wolf Alice My Love is Cool Label: Dirty Hit Genre: Alternative Rock Bringing back the boundary pushing British music scene

-8-

‘Wolf Alice’’s debut blends the folk sound of the bands routes, with the indie rock components of their adopted rhythm section, creating a blend of sounds that has to be heard to be truly appreciated. The development of their original sound is one of the key impressive aspects of not just ‘MLIC’, but ‘Wolf Alice’ as a whole. The second track, ‘Bro’s’, for example, was originally released back in 2013 on the bands first EP ‘Blush’, seemingly completed by echoed outbursts from lead singer Ellie Rowsell.

Yet in theme with the bands ability to re-imagine and recreate their sound, it reappears on

‘MLIC’ with additional riffs and distortions, as well as a more intense, almost grungy onslaught of emotion. For any of you doubting whether ‘Wolf Alice’ can successfully merge the folk and grunge worlds, you need only listen as far as their second track for your answer. Not that you should stop there by any means.

‘Wolf Alice’’s adaptability is what’s making them the British Indie rock poster children they are today. When the press set their sights on the success of ‘Royal Blood’s debut, they seemed to forget the album largely played it safe from the success of the bands first single, right through to their final recordings. It was always destined for mainstream success. ‘Wolf Alice’ have certainly ticked the box marked “original hard hitting riffs” in the same vein as ‘Royal Blood’, however it’s their delivery that sets them apart from the crowd. It’s an album that has so many different possible follow up directions, it’s near impossible to work out which aspect of ‘MLIC’ ‘Wolf Alice’ will choose to flesh out in their inevitable follow up. Or perhaps they’ll just reinvent themselves all over again, it wouldn’t be the first time. Or even the second.

It’s difficult to judge whether ‘MLIC’ is a perfect album simply because it attempts to accomplish so much, in a relatively short time. In it’s twelve track duration you’re thrown from light indie soul searching, to aggressive growling grunge riffs, not just from song to song, but from second to second. Progression you’d expect to see throughout a bands career, rather than within a single album. Tracks like ‘Fluffy’, another redesigned for use on ‘MLIC’ from the bands 2013 debut EP, offers an almost ‘XX’ level of atmosphere, but is fused with so much aggressive soul it helps you lose yourself in the emotion, rather than let it simply wash over you, a criticism the ‘XX’ are often faced with. Another case in which the bands outside of the box thinking creates something new, original and most of all interesting. The hall marks of something special in the modern music industry, that’s often deemed as growing stale with mass corporate control.

‘Wolf Alice’ might not be able to put Britain back on the musical map alone, but they’re certainly part of a new wave of artists trying and largely succeeding.

-9-

Halsey Badlands Label: Astralwerks + Capitol Genre: Indie Synth Pop The bad’s already in the name

- 10 -

If Zane Lowe is your source for new musical content you may have been drawn to ‘Halsey’’s debut

‘Badlands’ after he made an effort to plug the new single from the album, ‘New Americana’, citing “there’s a new icon here”. If you’ve heard the track and have more than a shred of taste when it comes to indie synth pop you’ll know he may have been overselling a little. However that particular track isn’t the whole story to ‘Badlands’, and with the album being critically dismantled across the board, DEBUT had a listen to decide for ourselves.

“Devoid of colour, he don’t know what it means” ‘Halsey’ sings in track ‘Colour’, for once in the album managing to create an emotional connection with you as a listener. Badlands is not an entirely failed album as many reviews would have it labelled. It is however a confused one, attempting desperately to find its place in an already crowded indie pop synth world. Not sure if it wants to theme its tone towards the drug, sex filled ‘Weeknd’ sounds that have recently captured the mainstream indie pop world with bands like the ‘Weeknd’, or the classic ‘Taylor Swift’ teen American, or even the more trance like ‘Daughter’. It wouldn’t be impossible to merge all of these aspects into one album, however it’s clear to see that the album to accomplish it, is not ‘Badlands’ Lyrically the album struggles at the best of times “we are the new Americana, raised on Biggie and Nirvana” raises eyebrows at best and results in gagging reflexes at worst. Coming from a 21 year old singer whose only been performing since 17, it’s easy to imagine the pressure placed on a single individual in a music industry desperately trying to churn out mass indie pop anthems for an audience of increasingly possessive fans. ‘Halsey’ seems to have been one of the victims in this desperate monetisation of young artistic individuals, and it shows lyrically more so than anywhere else. “I don’t have to tell you fucking anything” seems to be one of the few lyrics that rings true, yet is immediately followed by generic pop garbage “That’s the beauty of a secret, You know you’re supposed to keep it”. If ‘Halsey’ wants to be taken seriously as an artist, her approach to her sound needs to feel real, rather than simply picking a new personality to sing from with each track. It doesn’t appear to be her fault either reading between the lyrics, it seems like yet another horror story of an artist being pushed to create music of a certain type, for a certain audience.

The beats and riffs themselves are actually one of the albums stronger points, drawing influence from ‘Notorious B.I.G.’, ‘Slick Rick’ and ‘2Pac’ passed down to her from her father. It’s these aspects of the album that take the existing ‘Daughter’/’Neighbourhood’ vibe and attempt to push its more R+B elements. The issue again is that these beats need to be pushed by well-constructed lyrical content in the same way as any of the rappers she cites as influences made their names with. ‘Badlands’ fails to recreate the honesty of these classic hip hop stars and instead seems to run through a bingo card of current popular phrases instead.

‘Halsey’ certainly isn’t an artist to simply write off, at this point in her career she’s created an incredibly crowd friendly and easily listenable album. The issue is that she’s skipped forwards 20 years into her career to the point where she’s simply trying to please the masses, as an artist on an independent record label she should know this as her time to experiment and find her own sound, rather than simply trying to craft a well selling album. Get the tone right, decide what you want to say, and go from there.

- 11 -

If you enjoyed Beth Jean Houghton’s debut album with her band ‘The Hooves of Destiny’

Her solo material may surprise you....

Du BlondeWelcome Back to Milk Label: Mute Records Genre: Alternative Rock

- 14 -

It’s taken Beth Jean Houghton, now better known as ‘Du Blonde’, to evolve into the

musician we see today. Performing for her first audience in 2006, first EP in 2010 before joining Newcastle based musicians, ‘The Hooves of Destiny’ , in 2011 through the ‘Mute’ record label they shared. Together they released their debut album ‘Yours Truly, Cellophane Nose’ in 2012. The ten track, folk rock LP was almost entirely positively reviews, creating an underground buzz with many referring to Houghton as “the next Florence”.

The label didn’t seem to particularly fit Houghton’s style, which felt slightly reserved, almost held back. If proof were needed of this, the hidden track at the end of the album featuring a ‘Pogues’-esque “fuck-off” send off demonstrated that Houghton’s soul wasn’t entirely involved with ‘The Hooves of Destiny’ and that there was some hidden anger waiting to be unleashed.

Houghton wasn’t able to explore this aspect of her music within ‘The Hooves of Destiny’ and during the bands trip to Los Angeles in November 2012 cracks began to form in the very principles of the bands sound. Although recordings for the bands second album started positively, over time Houghton became disenchanted by the new albums psychedelic pop sounds and made the bold move to cancel the remaining sessions and travel America for the next nine months, attempting to find herself, and her musical identity.

Returning to British soil in 2013, smuggling with her a wealth of hardcore punk and classic rock influence. In an interview with Narc. Magazine not long after returning to British soil she spoke about her time prior to ‘Du Blonde’ commenting ‘I I’d stopped dealing with certain situations because I figured they were too hard to deal with. Those things come out later in a much darker way. I was angry with myself for having let people treat me a certain way. I was annoyed.” ‘Du Blonde’ is clearly Houghton’s angry alter ego, charged by the 80’s hardcore and grunge of the last three decades of angry American music. Her internalised anger transformed into a vocal battlecry opposed to the constraints she’d felt so far in her musical career. Her resulting album ‘Welcome Back To Milk’ is an eclectic combination of Houghton’s past, present and likely has more than a hint of her future.

‘Welcome Back to Milk’ tramples any notions of this being the follow up to ‘Yours Truly, Cellophane Nose’ with the first riff of the albums opening track ‘Black Flag’. Likely named after the figurehead of the American hardcore band of the same name. The track takes the gravely deep bass lines of the American hardcore movement she was likely exposed to in her time travelling America, and combines it with elements of the 90’s grunge movement to propel Houghton’s new and improved angry tones to her audience.

Her debut was criticised for featuring forgettable sounds, from vocals to riffs, ‘Black Flag’ is the immediate attention grabbing anthem every album from ‘Nevermind’’s ‘Smells Like Teen Spirit’ to ‘Elephants’ ‘Seven Nation Army’.

‘Black Flag’ is immediately contrasted by the almost Eastern Influences on the following track ‘Chips To Go’, offering up a track pace like nothing Houghton’s fans could have predicted her ever producing. Featuring a winding guitar riff that snakes around increasingly angry lyrics that are more shouted less sung. It’s in these moments that Houghton shows her dedication to her reinvention, the lovers of Houghton’s cyber-Florence days with ‘The Hooves of Destiny’ are left back in LA with the scrapped album.

- 15 -

It’s not that this past experience is completely removed from Houghton’s arsenal, rather that it’s now mixed with the very opposite of the folk tracks of the past. Tracks like ‘Hunter’ are a perfect example of when the aggressive soul of Houghton combines with her knack for catchy melody, creating something altogether special. It’s the contrast that allows her to have her cake AND eat it.

‘Welcome Back to Milk’, although a monumental album in the career of Beth Houghton, is by no means a perfect album however. Tracks occasionally become so packed with influences it’s difficult to work out what emotions and direction tracks are attempting to emulate.

‘Hard to Please’ features punk lyrics such as ‘wire your jaw shut, wash your clothes and get a job’, yet at close to the minute mark seems to abandon it’s punk theme in favour of a speedy balad-esque chorus, before returning to a second verse with a hardcore esque breakdown. It’s an interesting mix and is by no means a bad listen, it does however still feel particularly genuine, almost as if Houghton read the reviews for her album with Hooves of Destiny and simply constructed an album to counter their complaints.

If true it would be an interesting way to develop a career, rather than simply writing for yourself, you write for a wider musical audience. However the issues seem apparent with this album as Houghton’s attempts to reinvent herself musically, also come with fashion choices and a new stage persona. The album cover for ‘Welcome Back To Milk’ features Houghton almost nude donning a mink fur coat, with a number of similarly risque photoshoots accompanying the promotion of the album. It led fans to expect an animal on the stage, who screamed the pent up anger of her career to that point to the masses. Having recently completed a UK tour, which if you attended, you’ll know is not the case. Houghton plays shows largely timidly, not lacking energy, merely lacking the attitude that would have made the tracks feel genuine. There’s a lot of furious swearing throughout the album and hearing Houghton sing the words live just feels a little false.

It’s a complex issue, and one that may simply disappear as Houghton settles into her new on stage persona. It also draws on the current issues with image being such a huge aspect of the modern music industry. Listening to ‘Welcome Back To Milk’ with no prior knowledge of Houghton’s career or on stage persona leaves you with a genuine album full of great tracks. It’s only when social media and mass publicity interviews uncover the stories behind the music that we begin to doubt what we hear. If music is escapism then should there have to be any aspect of honesty in the lyrics of an artist. As someone who made the courageous decision to embark on a solo career in the final room of a Bowie exhibition, Houghton likely fully understands the complications of an on stage persona, and for all intensive purposes ‘Welcome Back to Milk’ is an amazing album. What the future holds for Houghton and ‘Du Blonde’ is a mystery, but regardless of how furious Houghton really is about her song inspiration, we like how it sounds and are damn excited to hear more.

- 16 -

“

Baby I don’t mind if my name is not the kind of word you’re looking for I can stay away, no I don’t need to lay myself

before your

And

baby I won’t cry if I never

see your

eyes again before I’m done

door

No I won’t feel no pain if I hear down the train that your moving on Baby I don’t mind if my name Baby I don’t mind if my name is not the kind of word you’re looking for I can stay away, I don’t need to lay myself is notnothe kind of word before for your door you’re looking I can stay away, no I don’t need to And baby I won’t cry if I never lay see your eyes again before I’m done myself before your door No I won’t feel no pain if I And baby I won’t cry if I never see hear down the train that

your on yourmoving eyes again before I’m done Baby I don’t mind if my na No I won’t feel no Baby I don’t mind

pain is if not I hear the kind of word

down the thatfor your moving on you’retrain looking if my name is notI the kind can stay away, no I don’t need to

I can stay away, no

of word you’re looking for lay

I don’t need to lay myself before your door before your door myself And baby I won’t cry if

And baby I won’t cry if I never see

I never see your eyes again before I’m done your eyes again before I’m No I won’t feel no pain

No I won’t feel no down the

pain if I hear train that

if I hear down the train that your moving on

D

Courtney Barnett Sometimes I Sit and Think and Sometimes I Just Sit Label: Marathon Artists Genre: Indie Rock Offering up general ease and honesty rarely created outside literary novels or classic poetry.

- 18 -

itching work mid journey, the dilemma of whether a parties really worth getting out of bed for, arguing over the effect of pesticides in fruit, just a handful of the surprisingly everyday situations Barnett focuses her musical talents on. Her skill throughout this debut album is taking these events, discussions and ideas and breaking them down into honest heartfelt truths, often with an amusing anecdote to accompany. “I wanna go out but I wanna stay home” is a perfect example of Barnett’s one line summary of the everyday issues we all face when she sings about having to make the effort to socialise when all she really wants to do is “lay in bed”. We’ve all been there haven’t we?

It’s this ability to connect directly with the core issues of the everyday voice that allows Barnett’s debut to have the soul gripping effect is does. We’ve all heard songs about love, heartbreak and redemption but Barnett focuses on the extraordinary everyday events of the everyman. A grounded Springsteen or Dylan for the modern age perhaps?

When it comes to the sound accompanying the Melbourne poet-come-singer, your ears will be greeted by a mix of genre tie ins from 90’s grunge and indie to classic blues and some sections that even the most learned musical historians, can only be described as ‘experimental’. Vocally Barnett’s deadpan tone only adds to the effect of each carefully placed syllable of what feels more like perfectly crafted conversational dialogue than lyrics.

Her pictures are painted carefully and with purpose, “More people die on the road than they do in the ocean. Maybe we should mull over culling cars instead of sharks”. With a mere two lines she manages to cement herself firmly within the Australian politics she’s grown up with, speaking out against the governments apparent willingness to kill massive numbers of local sharks simply because they swim too close to beaches. As well as using her seemingly effortless sense of whit to make highly entertaining use of car/shark metaphor, all the while keeping with a song structure and making it all flow perfectly, a skill few artists have demonstrated. There’s not many artists that can make a track so deep in the human psyche whilst thoroughly routed in the down to earth of mainstream community.

Barnett isn’t an artist that entertains through offering escapism, she succeeds by drawing her listeners attention to the beauty, and often sadness of the everyday. Her album is one huge emotional rise and fall, yet never steps into the territory of insincerity or even the imaginary, there’s not a story here that we can’t all picture, and in some way relate to.

This is an album that places Barnett at the top of the songwriting heirachy, but when an albums this good, we can only hope there’ll be some inspired up and comers on the horizon. It’d be nice to have more voices like Barnett around, and have some newcomers try and knock her debut off the top spot with their own..

Y

ou know in teen indie movies where there’s always that slow solemn scene after a house party as everyone pulls themselves off the couch they’ve collapsed on to begin the agonising walk of semi drunk shame. ‘Hinds’ Leave me alone feels like the soundtrack to that moment. ‘Leave Me Alone’ has a Californian style warmth to it, a kind of floating peaceful charm, yet the always feels as if it’s holding a little back and has the means to unleash a flurry of energy at any time.

The band have come out of nowhere, just a year ago they were merely a Madrid indie duo made up of Ana Perotte and Carlotta Cosials under the name ‘Deers’, having to later change this due to a threatened lawsuit with the Canadian band ‘Dears’.

Discovering at their first few live performances that they needed some backup, they added Ade Martin and Amber Grimbergen to give us their current lineup, and have been flying past landmark events in the bands history ever since.

Cosials and Perrote share vocal responsibilities for the album and intertwine their own distinct sounds perfectly, in fact it’s the vocals were ‘Hinds’ are at their strongest. It feels a little messy on it’s first listen, almost a distant cousin of the Riot Grrrl punks style, but after a while you find yourself moved to the house parties and late night walks Hinds are referring to. Even their Spanish accents occasionally mispronouncing their English second language merely adds to the overall honest feel of the album, as if every lyric is a tough to describe story from their own lives.

“I am flirting with that guy, just to pretend that I’m fine”, a line from ‘Chili Town’ is just one of many instances in which ‘Hinds’ tracks focus on the complex nature of love when you’re still finding yourself. It’s at the heart of the album, but it’s fleshed out by the scenarios of late night partying, an image often depicted in Hinds videos featuring table dancing and 40’s chugging in a fashionably indie style. The overall message you can take from the band is a difficult one to decipher, but it’s part of their charm, whether they’re against the simplicity of love in the modern party scene, or just desperately trying to rejuvenate it is a mystery you as a listener have to decide for yourself.

Hinds Leave me Alone Label: Lucky Number, Burger Records, Mom + Pop Genre: Garage Indie Rock Trippy late night Spanish indie anyone?

‘Leave Me Alone’ is a mess of passion, fun times and danceable slow jams that feels almost written on the spot. It’s this urgent honesty and authenticity that’s really setting the Madrid four-piece apart from the crowd and for a debut, is miles ahead of the competition.

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Jamie XX In Colour Label: Young Turks, XL Genre: Post-Electronic

Proving Less Can be More

As you’d expect from a producer who made his name with the indie sensations the XX, Jamie

Smith, better known as Jamie XX, once again sets out to push the boundaries, this time as a solo artist.

Jamie manages to orchestrate a marriage between indie and dance that meshes and flows so perfectly the album feels like a show in itself. It’s no surprise that it’s warranted the singer come producer a nod at the Grammy’s and the Mercury awards. Not bad for a debut solo album.

Jamie’s love letter to the classic dance and rave scenes of the 90’s begins with the fitting “Gosh”, a near five minute drum track loop, layered section by section, until its final climactic keyboard solo. There’s so little actually occurring, it’s beauty is in its subtle construction. By the time you realise the tracks been building to a glorious crescendo, you’re lost within the journey the track takes you on.

To say ‘In Colour’’s atmosphere starts as it means to go on, would almost feel like an undersell, if by the end of “Gosh” you’re sold then you’ll love what comes next, if not then it would depend on your particular issues. If you’re not a fan of electronic music for example, ‘In Colour’ just may not be for you, if you are and ‘Gosh’ just simply doesn’t click with your tastes, I’d urge you to keep listening, as ‘In Colour’ continues to take you on a journey through electronic music that hasn’t been explored for years.

Through the eleven track long electro fest, “Stranger In a Room” is the only track that feels like a real descendant of Jamie’s main band, the XX. Featuring Oliver Sim, it could easily have been taken from either of the XX’s decorated releases, although leaning slightly towards a place on ‘Coexist’. It therefore however feels slightly out of place amongst the electronic dance ambience that ‘In Colour’ has built up to this point. This isn’t to say the track is in anyway below the standard of the album, simply that it stands out with the rest of the album flowing so smoothly from track to track, while “Stranger in a Room” feels like a different kind of creation.

Learning that the album has been constructed in Jamie’s downtime from other projects over the past six years makes sense in the way that ‘In Colour’ moves from sub genre to genre, yet it’s quality is surprising. In Colour feels like a greatest hits of the variety of sounds he’s created so far in his career. It’s difficult to pick out key tracks because of this, as each track draws on a different aspect of what creates the overall feel of his music. From rave floor-fillers, to moody indie tracks, if you’ve liked anything that Jamie’s released in the past, it’s well worth trying to find the track that links with you on In Colour.

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If you keep up with your punk news you might have heard word from across

the Atlantic Ocean. No surprisingly not from the country facing the possible presidency of a man in toupee who thinks Muslims are going to flood into his country unless he builds a giant wall. It’s from Canada that we find some of the best angry music around. It’s difficult however, to place ‘Viet Cong’ within their ranks. No not because it’s not as good as the rest of the Canadian imports we’ve been enjoying, but because we don’t see it as pure punk at all.

Granted, ‘Viet Cong’ have a definite message to get across, however where their Canadian brothers scream for change, ‘Viet Cong’, create an almost dystopian feel with their industrial, indie post punk sound. If you’re expecting another Canadian punk band the likes of ‘PUP’, ‘White Lung’, and ‘Greys’, perhaps looks elsewhere. ‘Viet Cong’ find themselves in the company of the more experimental Canadian Punks new to the scene, and that’s a pretty iconic place to be.

Since ‘METZ’ released their self titled debut in 2012. on ‘SUB POP’ Records no less, Cana- Viet Cong da seems to be spitting relentless revolutionary punk tracks from it’s music scene.

There’s a theme in these bands to distance their opinions from the songs themselves, meaning when ‘Viet Cong’ have something to say, you make sure you’re listening. ‘March of Progress’ features lyrics arguably slating the current music trends of the indie underground. “Your reputation is preceding you, we’re all sufficiently impressed”, sings vocalist Matt Flegel, before the rest of the band break into a kind of ‘Joy Division’/ East Asian string fusion that’s far more hard hitting than it sounds.

There’s a rawness to what we’ve been hearing from our punk brothers across the sea and then North some, but ‘Viet Cong’ feels like every note has been carefully calculated, and the raw emotion merely seeps through the cracks in their carefully manufactured musical machine.

Viet Cong

Label: Jagjaguwar/ Flemish Eye Genre: Industrial Post Punk Post-Punk reborn in four Canadians?

Stand out tracks include ‘Pointless Experience’, a far less bleak track than it’s title suggests, and is also paired with a video almost as intriguing as the album itself. ‘Silhouettes’ follows ‘Pointless Experience’ and reminds listeners that although ‘Viet Cong’ may be attempting to evolve past the typical riff infused punk rock of old, they’re still more than capable of laying down a hard hitting drum line and a torrent of guitar that will help hopefully keep you positive through the albums darker moments.

Interestingly the bands monumental debut hasn’t been the major talking point surrounding them. Criticised their formation, the band have now confirmed they will change the title of Western forces in the Viet Nahm conflict. A harmless title to a great band, or yet another carefully thought out move to boost publicity? Whatever you think of the band name, their album is well worth a listen.

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Live from 7-9 Thursday nights

The best alternative, hard and punk rock you’ve never heard live on Hive Radio

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“Sunk

Like

a

stone

Like a first owner’s home loan”

“As

death

fills

the

streets

We’re garden variety oblivious”

“A preacher pushes me aside and asks me to wash my hands of sin

I said no, if he made me in his image, then he’s a failure too”

Lyrical Genies It’s been an odd couple of years for the music industry. We’ve seen the

re-emergence of good old rock bands, even as far as to see two piece rock bands like ‘Royal Blood’ and ‘Slaves’, the return of Grime, but what’s next on the musical timeline. We at DEBUT believe we’ve spotted trend.

It’s folk rock, nooo not the ukulele drenched mainstream nonsense of Mumford and Sons, we’re talking about the Courtney Barnett’s, ‘Father John Misty’s and Laura Marlings of the music industry. They have vastly different sounds, but it’s the lyrics that have been interesting us above all else. There’s an ongoing theme of blues-esque honesty about some of the best songs of recent memory, none more apparent than in Courtney Barnett’s ‘Sometimes I sit and think and Sometimes I just Sit’ album. It’s almost, dare we say, a white representation of honesty in the same vein as the hip hop of the 90’s was.

It’s a trend that appears to be hiding in plain sight too, all three of the before mentioned artists releases made appearances in numerous fan and critic top 10 lists, so why isn’t it becoming a well acknowledged musical presence?

Firstly it’s key to address that it’s difficult to summarise an entire artists lyrical stylings, and this idea of angsty folk honesty is being created in vastly different forms from artist to artist. ‘Father John Misty’ for example has taken an almost nihilistic approach to the world, uncovering the bleak honesty behind the everyday and attempting to find the beauty in accepting the general hopelessness of the existence in the 21st century. It’s pretty heavy stuff when countered with the lighter and often genuinely amusing anecdotes of everyday life we hear from Courtney Barnett. Her track names alone can lift your spirits. It’s because of this that these bands are often never even coming into contact with one another, other than in these collections of great albums from recent months, despite their clear shared soul searching undertones.

The second reason it seems to have not become a full movement, is because it’s incredibly difficult to get right. When ‘Royal Blood’s album hit there was an immediate influx in rock duos, yet when Courtney Barnett’s album topped almost every best albums of the year list, there was no change. This kind of lyrical style, which we would go as far as to describe as genius, isn’t something that can be learned. It seems that this is a talent few people possess and only a select few have moved to perfect using music as a medium to gift it to the world.

Is every poet a musician? No, but neither is every musician a poet, it’s the overlap between these two worlds that’s interesting us, and captivating the world.

Perhaps then it’s time for the music industry to begin to fill in the blanks between both these figurehead artists, and the overlapping worlds of writing. What would a mid point between ‘Father John Misty’s American angst and Courtney Barnett’s honest amusement at the world sound like? What would poetry sound like if it was written to be accompanied by music? We make a pledge that no matter how off the grid this up and coming next wave of lyric writing may be, you’ll get to hear about them first here, at DEBUT Magazine.

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Sam Hudson, the man with the plan talks us through the hard rock trios calculated rise to fame - 26 -

Y

ou might not have heard about ‘Sly Antics’ just yet, but within the year you can expect to see hard rock trios faces substantially more. Having formed less than a year ago and only just hitting around a dozen shows, their stripped back hard rock sound has never the less begun to make an impact. ‘Sly Antics’ have been proving night after night they have what it takes to go the whole way. I sat down with singer Sam Hudson at the Manchester Met Union to get an update on what the new kids on the block have planned for 2016.

Hudson himself comes across laid back, just as he has in the countless live shows his band have performed. We jump straight into discussing the bands origins, which date back far before the bands official conception in the September of 2015. The two other members of the trio consist of Sam’s cousin Lee Hudson on drums and lifelong friend Alex “Tommo” Thompson on bass, having met the latter before his University migration as members of the band ‘Widgy Keff’.

“It’s such an embarrassing name” Hudson jokes, “I only played guitar back then”. Hudson’s making a name for himself for the gravelled strength of his voice so to find out it was something that hadn’t always been a part of his musical career felt impressive, “I tried it one time and it just stuck, I used to sing more pop but one time I changed it and my vocal coach was just like “yes, do it like that, that’s your voice”. The conversation then took a turn to focus on the present day ‘Sly Antics’, erm, antics.

Just last week the band released a new promotional video filmed at their gig at Manchester’ ‘The Live Room’ and Hudson goes on to thank the Manchester scene for everything it’s offered the band. “There’s venues everywhere, ‘Ruby Lounge’, ‘The Ritz’, ‘Night and Day’” his list continues and it’s apparent that his vision for the band is focused on their live performances, as much as their recorded releases. “I’m inspired by any band who sounds better live than on the album” he continues “I love the old ‘Chilli Peppers’, we (the band) watch their live shows all the time”. If you’ve seen any of their recent shows you’ll be able to draw some rather obvious comparisons, with Sam now regularly vaulting from the stage mid song. “It’s about going the extra mile” he adds.

Recently the band have been fine tuning their 45 minute live set, which Sam explains, “really needs to be up to an hour”. He speaks about the future of his band with focused, almost military planning and precision. “It helps to be savvy online… you need the website, Facebook, Twitter, Soundcloud, all ready to go…it’s about getting the audience off social media and into the shows”. ‘Sly Antics’ focus in this regard is what’s setting them apart from the other up and comers on the Manchester scene, the venues are welcoming, but to really make it to the top of such a competitive and crowded scene, you have to know your next move well in advance. “We started 2016 with a meeting of where do we want to be in a year” and teases “we have a full LP all recorded just waiting for the videos so it should be released towards the back end of the year”. That’s some welcome news to anyone who’s had the good fortune to hear the bands last release EP ‘Captive City’, which has proven to be a great introduction to the bands original sound. “We want to start doing more supporting slots and we’re looking at some festival spots as well…we’ve got a couple of shows coming up too”. This is a slight understatement as since ‘Sly Antics’ began playing live shows last year they’ve basically not stopped. “We played the (Manchester Metropolitan University) Union and it was just such a huge stage” he laughs looking back on the bands second ever show. It’s testament that the band started on a stage that far surpassed the size of their fanbase, the next time Sly Antics grace a stage of that size, it might not be the same case.

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The UK’s punk prince has returned after

from both Gallows and Pure Love. If there

punk train, it’s now. Debut gives you a cr

self, his previous ventures into the chop

outlet, Frank Carter and the Rattle

years of silence following his departure

e was ever a time to get back on the UK’s

rash course in the history of the man him-

ppy punk scene waters and what his new

esnakes sound like in comparison.

To say Frank Carter hasn’t had the easiest musical career, is to vastly undersell the dramatic road the singer has taken

to his current punk icon status. The singer made his name with the legendary Watford punk band ‘Gallows’ from 20052011, before eventually leaving the band due to creative differences. Having become a punk legend simply by seeming like the only angry man left gracing the punk venues of the UK with an honest, hand on heart protest against all manner of injustices, from personal, to political. It meant that Carter built up a legion of fans incredibly early in his career with his time spent with ‘Gallows’ that still follow his every musical venture to this day. A terrifying combination of bright ginger hair and fully tattooed body, screaming his frustrations into a crowd who felt the same, night after night.

Following ‘Gallows’, his next band, ‘Pure Love’, who formed in 2011, were a project he’d been toying with since his time with ‘Gallows’. However where ‘Gallows’ material was blessed with impeccably positive reviews, their album ‘Grey Britain’ especially, which was cited as “pure modern punk”, ‘Pure Love’’s debut ‘Anthems’ was not met with the same positivity. ‘Grey Britain’ perfectly captured Carters burning anger and moving away from this felt like a betrayal to many of his lifelong fans. Tracks like ‘London is the Reason’ are still one of the most honest and menacing punk tracks of the last decade, and no track on ‘Anthems’ comes anywhere close. ‘Pure Love’ offered a much slower reflection of Carters talents and had a much more conventional rock sound, miles from the menace and fury fans were expecting.

Pure Love announced an “indefinite hiatus” via their Twitter account in 2014 and little was heard of what would follow for Carter. Where his departure from ‘Gallows’ was met with fury from the fans, many of whom never returned to ‘Gallows’ when they selected a new singer with Wade Macneil of ‘Alexisonfire’, most didn’t particularly mind the disbanding of ‘Pure Love’, instead hoping that Carter would return to his punk routes.

Out of nowhere it seems then, that Carters name is on every punk fans’ lips, the angry Watfordian that seemed gone for good has exploded back onto the scene, dropping not just one of the best albums of 2015, but one of the best punk albums of recent years. He’s even started writing new material for a second album, while still touring with his first, meaning there’s likely to be some quick turn around on this new wave of Carter fronted British punk.

Their debut album ‘Blossom’ is a reminder of the reasons fans fell for Carters music in the first place. Where ‘Pure Love’ seemed to force Carters voice into an oddly generic place, his new band, ‘Frank Carter and the Rattlesnakes’ feels like his natural habitat.

The albums key selling points include it’s catchy guitar riffs and well written lyrics, more than anything, it’s a return to the familiar raspily screamed tones Carter made his name with. It makes the angriest music sound that little bit prettier while maintaining it’s fury and edge. The first single from the album, ‘Fangs’, for example, is almost a perfectly blend of the animosity that makes Carter so original, as well as incorporating the catchy songwriting he’s worked on through his time with ‘Pure Love’ and clearly been perfecting since.

It’s an album that’s far from the seemingly safety of ‘Pure Love’s’ classic rock sounds and happily features a return to the politically charged messages that was always at the core of ‘Gallows’ while Carter was at the helm of the group. Tracks like “Paradise” are a screaming festival of anger, focusing on the risky topic of suicide bombers. Lyrics such as “If there is a paradise in the sky I hope you never get to see it when you die you coward f***ing scum” show the return of the political agenda that made Carter a punk household name. It’s not safe politics either. We’ve become used to even mainstream pop artists venting their displeasure at certain issues in the mainstream, but it never

- 30 -

seems more than displeasure. Carter reminds the public why punk is a little different when it comes to it’s stance on political issues, they’re not just here to draw attention to an issue, they’re there to conduct a mass assassination of the issues.

It’s also by far Carters most personal outing, featuring intimate tracks referring to his love life, daughter and insecurities. ‘Primary Explosive’ for example which was largely written about his daughter, while watching a boxing match at 4AM, just about as personal as song writing can get.

It manages to perfectly capture the swings and misses involved in both Frank’s career, and the boxing matches the song was based on, whilst giving them a personal edge as we hear his musical history from his own mouth, with the emotions now clearly apparent, rather than just the headlines. The opening riff also fits as a kind of homage to old school punk bands, in this case a clear influence from classic American post hardcore bands like ‘Rockets to the Crypt’.

It may have taken years for Frank Carter to build himself back into a position where he’s ready to take on the UK music scene again, but this man has fought back from some of the most devastating defeats a musician could face. Now, back in the realms of punk where he belongs, it’s time for Frank Carter’s comeback, and with an album perfectly displaying his voice, image and message, as well the modern British punk scene as a whole, it looks like he’s got a real shot.

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New Singles

Strapped for time? Or cash? Or both? May days? DÉBUT covers the best new singles

s This Month

ybe just craving that one track to binge for s to hit the music scene in recent months.

Black Hats – Noir Noir The Irish turned Mancunian three piece offer up another tease at their up and coming LP with a typically grungy masterpiece, released with a beautifully rendered video that shows off a band not comfortable with simply making a splash in the British musician scene, they’re set for making waves. If you haven’t heard anything by ‘Noir Noir’ yet, ‘Black Hats’ is a pretty great first impression track.

Pumarosa - Priestess A seven and a half minute epic featuring dark bass lines and apocalyptic vocals make ‘Pumarosa’’s ‘Priestess’ feel more like an art piece than a track. Slowly evolving into a more ‘Tame Impala’ sound, ‘Pumarosa’ still clearly set themselves apart from the masses as one of the most inventive up and comers around.

Joey Bada$$ - Christ Conscious The voice of the generations debut album has stunned critics and fans alike with just how original the 21 year old hip-hop star can be. ‘Christ Conscious’ is a perfect example of just how brutal and raw ‘Joey Bada$$’ is capable of being at such an early point in his career, spitting lines that stun, astonish and just damn entertain.

Liss -Sorry The Danish four-piece offer up another blend of almost oriental electronic soul pop and continue to keep our attention. If you like your indie music moody and atmospheric, check them out, we’re just waiting on that debut guys.

Fat White Family – Whitest Boy on the Beach Symphonic indie with elements of Canadian grunge? How can we say no to a hybrid sound like that. Opening in a pretty tame fashion, by the end of ‘The Whitest Boy on the Beach’, ‘Fat White Family’ have shown off a real knack for merging a huge number of different, sounds and riffs into a sound that doesn’t just work, it excels.

Rat Boy – Sign On There’s just something Summery about ‘Rat Boy’. Sign on is no different, with vocals likened to that of ‘Jamie T’’s street poetry, the lyrics are in the same vein as well, if you can’t work out the topic of musical debate in a track called ‘Sign On’, you’re probably not smart enough to spot a great up and coming artists like ‘Rat Boy’ either.

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Lapsley - Love Is Blind Following in the footsteps of other XL Recordings artists such as ‘The XX’, ‘Vampire Weekend’ and ‘The Horrors’, 19 year old ‘Lapsley’’s ‘Love is Blind’ is another moody atmospheric display of both her vocal performances and knack for combining the melancholia indie sounds we’ve been hearing a lot of in recent years, with some electronic sounds we’re less familiar with.

The Hyena Kill – Crosses Just good old fashioned hard rock. Singer Steven Dobbs has clearly been pushing his voice lately showing a clear development from early tracks. This ‘Alter Bridge’-esque atmospheric track flourishes from break down finisher to some tough as nails riffs and lyrics.

Dilly Dally – Desire Is there anything better than throw back Riot Grrrl vocals mixed with melodic punk? If there is we want to hear it. ‘Dilly Dally’ drags female fronted punk grunge into the 21st century with a voice that holds nothing back.

Free Wize Men - Is Ya With Me ‘Free Wize Men’ proving their lyrics can match their expertly crafted beats. The Manchester rap group are riding a wave of success after being one of the bands selected for a space on the Laboratory Records compilation album, ‘Is Ya With Me’, looks set to keep that momentum up.

All Tvvins - Thank You Looks like 2016 is shaping up to be pretty indie synth heavy but ‘All Tvvins’ are making sure that the crowded market flourishes rather than just saturates. ‘Thank You’ features the spaced out dreamy indie vocals and drums lines that will infect your ears for days after hearing. It’s a little faster than ‘All Tvvins’ other Ep’s material as well which shows off a range we’re hoping to hear through their debut.

Blossoms – Charlamagne Now that the British sun is finally making it’s 2016 appearance you might be in need of new indie synth to enjoy on those relaxed sunbathing days. ‘Blossoms’ are proving to be a master of this particularly indie sun anthem and Charlamagne is no exception, with an ultra catchy core riff and some funky bass lines, ‘Charlamagne’ is about as perfectly suited as a Spring indie track can get.

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