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CONTENTS Editor’s notes p.4
Live music returns? p.6
the proposal p.10
Halloween at the brewer p.15
a night to remember...
in the studio p.16 What’s new at playing aloud?
Tone Talk P.20
martin vs. taylor
reviews P.25
Cover Credit: KAYLYDE - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto Tides - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
ROCK LYNX EDITOR Jordan Merrett
The response to the first magazine really has been overwhelming! Now that the hardest part is done it’s time to crack on and keep pushing all the awesome rock in Lincolnshire out to the world.
IG/FB - @bigjordsguitar
YouTube - Big Jords Guitar
S E T O N S ’ R O T I ED
W
ell, isn’t 2020 the year that just keeps on giving? We had live music back for a minute there, and what a good minute it was! I want to take this opportunity to thank all the venues, promoters and bands that adapted to the restrictions to bring music back to some of the people who needed it most! Notably all of the staff at the Jolly Brewer in Lincoln, who I witnessed first hand working tirelessly to continue to serve patrons when the table service restrictions were implemented. This period of time has certainly reaffirmed to me just how important live music and social interaction is for us as human beings, particularly those who suffer from mental health conditions; and that is the single biggest reason the Jolly Brewer staff should be proud of everything they have achieved. They have undoubtedly saved lives!
Thanks To This Issue’s Contributors! | Tyler Rayner - Photography | Gemma Baker | Sue-Anne Bright | Alex Eardley-Scott | Steve Cowan | Ella Fearnley | Ash Eyre | Martyn Bewick | Keiran Campbell | The Jolly Brewer | Tired Bear Booking & Promotions | Ben Simmons | Olivia | Sarah Hughes | George Shelley | Playing Aloud | Man Made Fate | KAYLYDE | Tides | GUTS. | It’s Karma It’s Cool | G.L. Shelley | Parallel States | Downer Inc. | Bitchin Hour | KMGS Photography | Sam Freeman - Photography | Suzy Aldridge |
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Y L D E T B U O D N "THeY HAVE U SAVED LIVES!�
Man Made Fate - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
! ? S N R U T E R C I S U M LIVE
Article By: Gemma
Baker
I
t’s a Saturday. Not just any Saturday. The first Saturday since lockdown began that live performances outside have become legal again, and Tired Bear Bookings wasted no time in organising Lincoln’s first live music event at one of Lincoln’s most long-standing independent pubs:
“Is everyone sure we’re allowed to do this?” THE JOLLY BREWER.
We’re in the spacious beer garden, it’s a warm July evening and the atmosphere is filled with equal amounts of excitement and apprehension. Groups sit at their tables a little rigidly, there’s a sense that we’re doing something wrong. It’s like drinking after prohibition. Is everyone s ure we’re allowed to do this? Like, we really want to, but what if we do it wrong? Are we allowed to sing? Dance? Or do we sit, nodding rigidly whilst trying not to have too much fun then head home at a sensible time? Punters grasp ice cold pints with relief, and begin to slacken their spines a little as the alcohol and good company begin to soothe the many months of solitude and anxiety that most have endured. Some have already visited pubs since they reopened, whilst for others the event was a perfect opportunity to see friends and talk to other pub-goers again.
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We all sit eagerly waiting for the music to begin. The organisers are making the final kit checks as local musician Ben Simmons takes a seat on the Brewer’s unique outdoor stage. Not only is the event a much-needed relief to the audience, it’s also a huge beacon of hope to a community of musicians who have spent the last four months gigging online via live streams, and in many cases, have not been gigging at all. The cost of lockdown, both financially and mentally has been enormous, and as Ben rings the first legal live note on stage there feels to be a collective exhale amongst the creative community and audiences alike. “It felt so good to witness the lighting of the musical flame once again! Music brings everyone together and Saturday evening was evident of that! I’m so thankful to be a part of that moment.” said Ben. He kicks off the set with a cover of ‘I Heard It Through The Grapevine’ in Ben’s distinct soulfilled soothing voice. It’s July, I’m in a beer garden with a cold pint, good friends, and live music. My soul is happy. Ben continues to soothe us with a couple of laid back covers, before treating us to his trademark song ‘Olivia’, a slightly faster song, with a catchy chorus that you can’t help but sing along to, whether you’re allowed to or not. Ben’s last song is his powerhouse cover of ‘It’s a Man’s World’. Considering how huge of a song this is, and how many times it’s been covered, Photography by Martyn Bewick Ben makes it his own, and gets to really showcase the power of his voice and his soulful guitar playing.
Adam Perkins of Tired Bear Bookings makes sure that the changeover between performers is both smooth, and safe. Hand sanitiser is, well, on hand and performers bring their own microphones and guitar leads to avoid any danger of cross contamination, with microphone stands cleaned between performances. Free wristbands are given out to those that have booked ahead to ensure the audience doesn’t exceed the allocated fifty-person capacity. There is room between tables and social distancing is mainly upheld. The speed and professionalism of the organising of this event is a huge credit to Tired Bear Bookings, though it wasn’t without anxiety “I felt a little stressed initially due to last minute organisation (of the event) and trying to remember how to set up the bloody PA! With the added social pressures of, oh, we’re all together in a pub again! This aside, the musicians were amazing. Everyone seemed to have a lot of fun while respecting the guidelines set out by The Jolly Brewer. I’m very much looking forward to the next upcoming shows!” said Adam, reflecting on the event’s success.
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Michael Logan takes the stage next. A well-known face in the local music community, as both a performer and organiser, with his notorious blend of high-energy covers, originals, and audience interaction. An improvised (and rather explicit) song about penguins helps to break down any residual anxiety in the crowd. It’s a pleasure to see so many people smiling and enjoying themselves. Michael included.
Photography: Tired Bear Bookings & Promotions Artist: Michael Logan
Next up we see Sarah Hughes, another regular face on the local scene both as a solo artist and band member. The crowd are a little louder after the previous performer’s shenanigans and her set seems to feel a little drowned out at first, but it’s soon remedied by Adam at the sound desk. Sarah follows suit with a mix of covers and originals, bringing along with it her unique sound and stage presence.
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Photography: Tired Bear Bookings & Promotions Artist: Sarah Hughes
George Shelley arrives on stage in his bright festival raincoat to see in the end of the night. A great decision by the organisers as he is an intuitive crowd-reader and knows how to bring energy and charm to the stage. George is probably one of the most prolific performers currently on the Lincoln scene, and has quickly become a well-known and well-liked member of the community (who can resist that cheeky smile!). He treats us to some Johnny Cash, Arctic Monkeys, Gnarles Barkley, and an original for good measure. The crowd cannot resist singing along, and there may, or may not, have been a smidge of dancing. The night begins to blur into a heady warmth of music, laughter, and joy. For a little while we forget about the global pandemic, we forget why we are angry, or sad, or anxious, and we let go. That’s the power of music. I think it was that. Though it could have been the Jäger bombs.
been
“It could
have
the
Jager bombs”
Photography: Tired Bear Bookings & Promotions Artist: George Shelley
The night is a success on all fronts. A much needed income for the pub. A much needed platform for the performers. And a much needed release for the audience. All while ensuring the safety of the performers and public. Proving that Lincoln’s music scene is both thriving and robust. As Ben Simmons said “Lincoln’s music scene may be smaller, but we are loud, supportive and we are passionate. I hope the scene in Lincoln continues to progress and evolve into something that puts the city on the map. It’s such a privilege to be a part of something that continues to grow and I’m so proud of everyone involved. | The Jolly Brewer - @jollybrewerlincoln | Tired Bear Bookings and Promotion - @tiredbearpromo | Ben Simmons - @bensimmonsmusic | Sarah Hughes - @plinkyplonkyhughes | George Shelley - @G.L.Shelley020 | Written by Gemma Baker - @gemmabakerpoet
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Tides - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
The Proposal?!
T
By sue-anne
bright
he Jolly Brewer, a pub in Lincoln, known for its quirk, food, pleasant staff, live music and atmosphere transitioned with the Lockdown restrictions to accommodate their patrons by providing the best bands and a night to be remembered. After worries of bad weather came clear and warm skies on Saturday 29th of August proving the universe was blessing this day indeed. A grand gesture, nay an actual proposal was made between band members Adam and Chloe with fans and musical colleagues joining them in their celebrations. The band in question? Tides, their raw rock style being showcased for their first ever gig with their debut song Silver Lining, which was quoted by the lead singer and bride to be Chloe, “Silver Lining is the expression of overcoming hardships. I believe it is important to realise that, even in the darkest times, there is a light at the end of the tunnel. This song describes the journey into reaching that better place through self-acceptance, self-love but also by making peace with the past.” Their music, the people they are and the fans gained since joining together, made for a memorable night. The engagement video on their YouTube channel can be found by searching ‘Drummer Proposes to Singer ON STAGE’ where we can relive the heartwarming scene of Adam telling us he’s about to do something “very embarrassing” which couldn’t be further from the truth. Once the crowd realised what was happening, a humbling silence followed by cheers came along with the well placed dirty request, as we were gifted with watching him get down on one knee, squeal in anticipation (the crowd, not the drummer..) and laugh with the happiest “sure” into the microphone as she was unable to contain her smile with that look, the look of genuine connection. A magical kiss with a celebratory guitar solo was icing on the cake but the true star will always be “get your willy out!” guy. Since the first gig, the 5 members of Tides have released a single called Broken Record and have plans to rise to fame with more and more gigs, possibly with less proposals although this can’t be guaranteed. You can save your next gig date for 2021 but look out for these ambitious people, they’re out there and they’re making memories.
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“get your ” ! t u o y l l wi Was the proposal planned out for the stage or was it too good to pass up in the moment? Ever since the pandemic and lockdown began, we awaited the opportunity to play our debut show safely and locally. We booked the show when we found out that pubs could reopen in July. With excitement brewing about our debut show, I reflected on the lockdown and, while drinking beer in the castle with some friends, I decided I wanted to marry Chloé. Proposing at the show just seemed perfect and I’m thankful she said… ‘sure’. What happened after the show as betrothed and band members? Aaron, Aaron and Adam drove around Lincoln on a serious hunt for booze and were eventually successful. We headed back to our place and drank the night away! I think, as a band, the whole event brought us all closer together. We would have loved to have had everyone else back but Covid guidelines prohibited this unfortunately. Aaron, Aaron and Oz were wonderfully supportive with the proposal, the least we could do is pour them a whiskey or two! What traditions have the band formed together? We went through a phase of getting a hearty meal down us before a rehearsal, a pint and pizza really gets the creative juices flowing. We’ve shared many hangovers and have developed an unhealthy tradition of drinking until the sun rises, we’d like to mainly blame Aaron H for this. Was there anything that went wrong leading up to the proposal and anything you feel will happen at the wedding? Hiding a delicate and expensive ring amongst heavy drum equipment kept my heart at an accelerated rate. Chloé always helps with setting up the drum kit and she actually held the bag that held the ring a number of times, again, the heart rate increased somewhat. We’re inviting all of our nearest and dearest to France for nearly a week to celebrate our love, what could go wrong… where do we start? Will Aaron S drink ALL of the beer stores in France while appearing oddly sober? Will Oz end up starting an illegal rave at the top of the Eiffel tower? Will we find Aaron H half way down the Seine, sipping whiskey on a boat, 6 months later with 2 solo blues albums topping the charts? All risks we are willing to take! Did the “Get your willy out” guy help ease the nerves? We owe this guy a drink or two! The nerves fell when I heard this but, as tempting as it was, I decided to infact keep my willy... in? What excites you for the future and have you been working on anything during lockdown for us? We have almost finished an EP that we can’t wait to release. This will be part of a bigger plan but this will be announced into next year. A UK / France tour is currently being booked for next summer so we will hopefully be announcing what venues and cities we’ll be playing very soon.
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O
n the same night as hearing wedding bells in the air, we heard from KAYLYDE, GUTS. and Man Made Fate with thanks to Tired Bear Bookings and Promotions for bringing them together on that fateful night to allow us to congregate safely in rockin’ synchronicity.
Man MADE FATE
Previously reviewed in the first issue of Rock Lynx, Man Made Fate – a favourite in the Lincoln rock scene have out done themselves this year. The phrase “all play and no work” never ringing true with the release of ‘After All’ written and recorded just in time for us to have something to look forward to as doors closed but our minds opened with mellifluous vocals and instrumental fluidity. In comparison, ‘LOL’ being one of the first songs to grace us, embodied a raw range harmonised together with every electric riff and drum beat, gripping us in lyrical galore, flourishing their talents and wowing the troops. The main question though is whether or not Bernard, as seen in the After All (MV) will be a permanent member of the band by 2021?
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Man Made Fate - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
KAYLYDE - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
GUTS. Aptly named for this music genre: Guts, what could describe them other than YEAH. Guts inexorably punk and grunge influenced having a spectacular sound you’d do some aggressive skating to. ‘Only Friends’ is one of the more popular songs with inner jokes that we’re definitely missing out on, they described the music video as “Loosely based on an idea revolving loosely around a dream about an inside joke”. The google tells me Punk as we know them “Often politicized and full of energy beneath a sarcastic, hostile facade, punk spread as an ideology and an aesthetic approach, becoming an archetype of teen rebellion and alienation”. They fit the bill but their secrets may just be their union as a band in cheer. I guess sometimes you can’t google everything but we can hope to find out the inner jokes in time.
KAYLYDE
Kaylyde, the band that has the siren songs calling us to stop and blessedly osmose with awe, they have the power to relate the powerful with the mystifying of words into lyrical genius and transport us to lucid dream worlds. I might just be mystified by them, I might also be a new fan. I am definitely a new fan. The song that turned me? Shadows amongst the highs, the lows and the head-banging, it was a done deal when I finally stopped playing it on repeat and got to Chase and Cold Blooded. With plenty of merch to browse and podcasts to incorporate in my daily life, I look forward to experiencing what else they have to offer.
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KAYLYDE - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
AT
The Brewer- a Night to Remember Okay, confession time. Picture the scene. It’s October 31st 2020, it has been ‘quite the year’ to put it mildly. The UK and the rest of the world have been ravaged by a pandemic that has killed over 1 million people. The good folk of Lincoln are heading towards the Jolly Brewer Pub ready for an evening of killer (okay, poor choice of words) live music in an attempt to claw some sort of normality from the world. To forget about everything for one night and just have some good ol’ fashioned fun. One person is even waddling their way there dressed as Orvil. These are unprecedented times. In fact the use of the word ‘unprecedented’ itself this year has indeed been unprecedented.
“WILL WE EVER SEE EACH OTHER AGAIN!?” Today there has been a media ‘leak’ from Downing Street that the much feared ‘Lockdown two’ is about to happen. Could this be our last night of freedom? For a month? For a year? WILL WE EVER SEE EACH OTHER AGAIN!? The collective angst is palpable. What am I building up to? Well... dear audience and dear Editor...you know how I was meant to review the Halloween gig...and you know how when you (dear Editor) looked at me from across the beer garden on All Hallow’s Eve? You gestured an imaginary pen and paper, indicating that I better write notes for the article less I forget the evening’s events...and how I gestured back with a pint in my hand ‘IT’S OKAY, I’LL REMEMBER IT!!’ while we both knew damn well that I absolutely would not remember it? Well, we were right. You, dear Editor, were right. My attention was placed squarely on how many drinks my friends and I could knock back before 10pm. And how many humans I could converse with before it became illegal once more. All I can say is the bands were the perfect soundtrack to a perfectly blurry night of laughter, surrounded by some of my favourite people. Sometimes the best nights are the ones you forget.
- Gemma Baker
BANDs
Temple steps - cave killer tides Tides - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
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In The Studio
A quick look inside the new recording studio at Playing Aloud
Playing Aloud are renowned and well respected within the Lincoln rock community and lately they’ve made some changes to their studio. They’ve refurbished their premises and added an entire annex devoted to producing industry grade recordings, and amazingly their premium services still don’t cost the earth!
Recording sessions from £35 per hour, Rehearsal rooms from £8 an hour. Music tuition from £12 per session.
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With this awesome looking studio and prices like that its easy to see why they’re so popular! Since re-opening they’ve recorded the likes of: Tides, Hell’s Ditch, G.L. Shelley and Parallel States
Photography by KMGS Photography
Live recording?
Single track for a solo project?
Fully layered, mixed, and mastered album?
.
fF he’s tu s is h s ow n k d n a l a n io s “Martyn is profes eas off to id g in c n u o b d n a d n u o r a great for joking life!” really bring the track to - G.L. Shelley
To enquire visit: playingaloud.co.uk
Mention Rock Lynx for a secret FREEBIE on your next visit!
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TIDES - Live at The Jolly Brewer Photography by Tyler Rayner IG - @ty_raynerphoto
TONE TALK A with
lex Eardley-Scott
Facebook-@AEardleyScott
F
Youtube.com/alexeardleyscott
VS.
or this issue of Rock Lynx, I thought I would bring you a comparison of two of the latest innovations. I have had the pleasure of trying from Martin & Co. and Taylor guitars before the pandemic. If you’ve heard a guitar in popular music recorded in the last 70 years, then it’s almost certain you’ll have heard one of these brands and their instruments. You either know them from your favourite songs or the one you hate most which always seems to be on the radio. Both companies offer a huge variety of designs, tones and price points; catering for everybody who wants a guitar that sounds and plays well. They both compete from lower-priced travel guitars to custom shop works of art which cost tens of thousands of pounds. I just had a look while writing this article and I forget sometimes that prices can go that high for things without bedrooms or a mortgage. But before we all got told to stay at home, I managed to play two very exciting guitars side by side: Martin’s brand new SC13e and Taylor’s 317e Grand Pacific. Both are similarly priced but offer two different avenues of playing comfort, styling and voice.
Martin & Co.
are considered a forefather in modern acoustic guitars in a lot of ways. Family-run since 1833, and the oldest still-producing guitar maker in the world they have made some of the most well-known designs in history. The originators of the most copied guitar shape in history, the dreadnought, they were also early pioneers of X-bracing which is now the most common strengthening technique for guitar tops too. In January of this year, Martin released possibly their most radical redesign of what an acoustic guitar could be into their Road Series, the SC13e. On first impressions, you’d be forgiven for thinking it is just slightly brighter sounding Martin with an interesting cutaway and blue appointments. When you hang it up next to a standard guitar though, you soon notice the asymmetrical body shape. It’s a bit of a love it or hate it look until you’re sat behind it and you’ll change your entire perspective on it.
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Once you’re sat with the guitar, you have no problem appreciating the brilliance of the design and its emphasis on the player. Slimmer body styles or arm contours have been done by many companies, including Taylor. By shifting the shape of the body however, you still get the same volume output but you’re far less likely to receive that painful line on your strumming arm many of us are familiar with. Not satisfied with only improving strumming, they changed their whole neck design too. The virtually heelless linear dove-tail neck joint allows access to all frets, even the usually dusty higher register with near-seamless transition. The bolt-on design of the join also allows micro-adjustment for any intonation issues and easy servicing which is extremely nice to see on a Martin. They teamed this redesign with their Sure AlignTM Neck System. This system is an asymmetrical neck carve which postures your hand into a more comfortable playing position; being rounder at the nut and bringing your hand further round at higher notes. Nothing feels like a stretch anywhere on this neck and that is impressive. In terms of tone, the guitar is a bit brighter than a standard Martin, even with the koa veneer and mahogany core, probably due to the amount of lacquer on the guitar. But personally, I actually like this departure from the warm sound you get on other Martins as it is trying to do something different. If you need to shape the tone or get a bit more volume then the onboard Fishman MX-T electric system works as well as ever. The same preamp we are accustomed to in the rest of the Road Series, it provides you with a solid and discrete under-saddle pickup system and player-facing soundhole tuner. The shape of the guitar is reportedly better for feedback too, although I haven’t been able to test it myself. Should you experience any problems though, there is a small switch between the controls inside the soundhole that can help as a quick fix for any onstage screeching you might encounter. Overall, the SC13e is a guitar where everybody can feel comfortable, even those of us who are more electric guitar orientated. I often speak to people who have been put off by guitars which can be bulky, painful for their strumming arm and restrictive because of the nature of a traditional neck and heel joint. Martin believes they’ve addressed a plethora of player concerns in just one guitar and they most certainly have. An excellent guitar.
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Taylor Guitars on the other hand are a little late to the party compared to Martin. Starting in 1974, Bob Taylor and business partner Kurt Lustig formed a company intent on innovating the guitar world with beautiful, sustainably built, easy to play instruments. After enlisting master builder Andy Powers to their design team, he set about changing the rules of guitar voicing. Last year they finished work on the Grand Pacific body shape: a modified dreadnought with some new ingenuity underneath. Before work began on the model, Powers said he realised his favourite recorded guitar tones were always a combination of the instrument and various recording factors. It is never the true sound of the guitar on its own, no matter how it gets recorded. Realising this, he began to experiment with alternate shaping and contours to try and recapture the sound he heard on those songs. The result is the Grand Pacific. The rounded body profile refined the instrument’s EQ and gives you that recorded guitar tone right in the room and not just from your speakers. The large lower bout combined with a thinner waist and shoulders brings the midrange and bass to the forefront but with excellent clarity. It is such a pleasingly rich and more subtle entry for the company and I enjoy the change of flavour. This is all helped by the introduction of V-Class bracing. The X structure underneath a guitar top, as mentioned earlier, has been used for well over a hundred years but Andy Powers discovered that this was actually a compromise of volume, sustain and intonation. V bracing goes from the middle of the lower guitar edge and goes either side of the soundhole with strengthening struts coming off it. This idea he sketched while watching waves breaking off from one another has created guitars with a harmonious marriage of all three properties. Some fundamental intonation issues almost completely by causing the top wood to move like a wave and not in sections which are incredible to hear and the sustain is unreal! Although this guitar doesn’t come with a tuner built-in like the Martin, it opts for a less cluttered soundhole and comes with Taylor’s fantastic ES2 system mounted on the upper shoulder. I’ve never got a bad tone out of one of these pickups and it is really telling that they use the same system on even their highest priced custom shop models. The piezo system is a bit special compared to traditional under-saddle ones used elsewhere. There are three piezo crystals which are pushed against the bridge saddle. This transfers the strings energy evenly, not crushed under the tension unevenly like under saddle pickups usually are. The tone is responsive and natural with a much closer resemblance to your instrument’s resonance and frequency. The bass and treble controls allow a contour around the mids whereas the SC13e only has a tone control, letting you hone your amplified sound that bit further.
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As is the case with Taylor’s other guitars, the Grand Pacific is a whole range featuring different wood options and customisable options and the more refined Builders Edition models take the instrument to a whole new level. The entry model into the line is not a lesser guitar by any standard, the rolled fingerboard edges alone make it comfortable in the hands and you’ll soon forget it’s the lower priced model in the range. They have something special and this 300 series model is not to be taken lightly. Handbuilt in the USA with sustainable materials, a beautiful case and a 12-year guarantee as standard, it’s a special instrument designed to last and you’ll not want to put it down - I know I don’t.
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For me, it’s incredibly difficult to pick between these instruments. I would have loved to test the SC13e against the new American Dream model from Taylor (a more affordable Grand Pacific shape) but alas COVID got in the way again! However, these are both the first departures from what we expect from these brands. A movement from their usual designs and soundscapes and that is why this comparison is important. If it were my choice, I would get the Grand Pacific. But that is only because it suits my playing style and maybe I’m getting old but I do enjoy the security of a fitted hard-case and a long guarantee. Should you be more of a lead player or a fretboard blazing fingerstyle guitarist looking for top-end clarity in your sound you will be better off with the Martin. The more comfortable of the two and with almost limitless accessibility without the added weight of lugging a hard-case around is never a bad thing. Whichever you would pick, nobody can’t deny that both are a welcome addition to the world of acoustic instruments and play a huge part in designs of the future. I cannot wait to see what the next few years bring because I think there is something special on the horizon from both brands and who knows what it might be! For more information on these guitars contact Musicroom Lincoln on: Tel: 01522 537141 Email: lincoln@musicroom.com Instagram: @musicroomlincoln
Please be aware that COVID restrictions may affect opening hours.
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Martin & Co www.martinguitar.com/
Taylor Guitars: www.taylorguitars.com/
s w e i v Re It’s karma it’s cool - 26 G.L. Shelley - 28
Bitchin’ hour - 28 parallel states - 29 downer inc. - 30
Kieran Campbell - 32 ben simmons - 34
kev hackney - 34
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INDIE
It’s Karma It’s Cool - Woke Up in Hollywood It’s Karma It’s Cool (henceforth referred to as IKIC for my sanity) is an indie-rock band from Lincoln. Woke Up in Hollywood is their debut album, following on from 2019’s EP/mini-album Hipsters and Aeroplanes. A four-piece group at their core, they favour a sound that is the aural equivalent to sunshine, beaches, and imaginary road-trips along archetypal American highways. And, while it would be tempting to pin their sound to an era that the band are too young to have experienced first-hand - i.e. 60’s/70’s pop - I find them more reminiscent of the bands that approximated that sound back in the 90’s. Without wanting to sound needlessly reductive, there is more of The La’s than The Beach Boys in their DNA. I’ll show my ignorance early and confess that I hadn’t heard their previous EP, despite having seen it advertised locally many times, which makes listening to Woke Up in Hollywood my virginal toe-dipping into their musical world. And, what a bright and breezy world it is. The group is super tight, the songs succinctly composed (there’s little fat on these tracks), and, despite being 12 songs, there’s a brevity to this album that is testament to their song-writing nous. Listeners will be thankful to learn that the album leaves you satisfied, wanting more, and doesn’t outstay its welcome. The album opens with bombastic intent as Our Love is an Amplifier bounds forward with a catchy riff quickly followed by a propelling bass, what sounds like a percussive wood block aping Don’t Fear the Reaper’s ubiquitous cowbell, and a shimmering synth line bubbling through the chorus. It’s catchy, superbly mixed, and perfect for distilling the band’s sound into a sonic parcel for those curious about what the IKIC thing is all about. Vocalist James has a voice all his own and, while it may be an acquired taste for some, I like the vibrato-heavy vibe he gives. If I was being lazy, I’d suggest a little bit of Live’s Ed Kowalczyk as a reference point (but only if I was being lazy...) Elsewhere, Martyn weaves lightly overdriven riffs and chords around the solid backbone of Mikey and Danny’s bass/drums combo; the rhythm section really do anchor these tunes. It’s an aesthetic that remains rooted for much of the album. However, there are moments peppered throughout that show some broader sound-scaping; Mariachi horns on New Age Eve and harmonica on Healer’s Leap (played by guest musician Brian Barry). These moments serve to add flavour, never becoming dominant, and give some essential textural variety. So, too, do the slower songs, which never veer into saccharine territory. Indeed, they seem to revel in a knack for the quirky side of pop in these moments, with only the album’s genuine ballad-ish song, Battle of Burnt Out Bliss, eschewing their usual uplifting aura; traded for something that sounds a good deal more serious.
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There’s a warming, nostalgic, quality to the songs. And, for that, you could accuse IKIC of looking backwards instead of moving their oeuvre forward. And while I certainly would understand such a sentiment, IKIC do freshen things up; much as the likes of Collective Soul, Better Than Ezra, and their ilk reinvigorated 60’s pop and rock and introduced it to 90’s college radio. The band is already working on a follow-up, such is the madness of the current Covid-19 situation and have hinted that there may well be some mild experimentation to be found, along with refining their signature sound. It could be a risky proposition. Woke Up in Hollywood is a neat slice of hook-infused rock and, while I enjoy experimentation, it must be justified to take steps toward changing that. After all, as good as Pinkerton is, there’s a reason why Weezer keep returning to their roots after each head-scratching detour. Still, we shall have to reserve judgement until the album is complete. As it currently stands, IKIC have delivered a solid, uplifting, antidote to the social and political turmoil we find ourselves in. And, for that alone, I heartily recommend searching this out.
RATING Reviewed by Steve Cowan
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INDIE
G.L Shelley - Feeling The Heat Review by Ella Fearnley
Lincoln’s indie rock artist G.L. Shelley is heating up the autumnal days with his new single Feeling The Heat. It’s their first official studio release, and it’s definitely not one to miss. From start to finish you’re drawn in by the melodic guitar and drums along with the vocals which themselves are delivered with a unique raspiness reminding me of Placebos Brian Molko. The breakdown really brings it home for the final chorus providing the perfect opportunity to get ready to sing along with the pretty relatable lyrics. An infectious foot tapping indie tune. For sure one artist to watch out for.
Hard rock Bitchin’ Hour - Viper Woman Review by Martyn Bewick
Well, the title, band name and opening statement of the song say all you need to know really! From the first second this track oozes attitude, overflows with blues, and smacks you in the face with large slap of soul. The music really plays second fiddle to the immensely strong lead vocals from Leonie Wilson, though when some satisfying lead melodies come in, you’ll be forgiven for thinking you were half way through an Iron Maiden track - not with widdely nonsense leads, but with some tidy melodic hooks nicely break up the song. Considering this is a post-lockdown formed band, therefore relatively new and with little experience as a group, this is a great mission statement for these 5 radius ladies to open with. More please
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punk
Parallel States - Interview Interview by Jordan Merrett
P
arallel Sates are a brand new punk band to the Lincoln scene. They have managed to defy the odds and form a band in the midst of lockdowns, social distancing and 2020’s general vibe. We caught up with them while recording their first EP to find out more:
How did you guys manage to form during COVID-19?
Kieran Campbell - We started messaging through instagram to collab on my solo stuff, folk-americana. We were chatting throughout lockdown and decided to head to the studio and see what happens. I used to play in punk bands anyway so I thought lets just jam. As we were jamming it started to sound like early Greenday style sh*t and I thought, I like this, lets just go with this!
where did the name come from?
We were just chatting away and thought, we need to think of a name, So we had this list of names with all sorts on it. There was like midwest states, something else, something else then we thought, parallel states! Then Sam came along and was half an hour late (typical bass player) so there’s now a song on the EP called ‘Sam’s Late’.
So does the EP tell a story?
Not so much, the first song on the EP is called ‘Better Place’ which is sort of the stronest song and has the most structure, it’s quite mellow but gets alot heavier in the chorus. In the next song it gets mellower and goes into a ‘Dookie’ sort of sound. Then it gets heavy again, (which is great!) for ‘Sam’s Late’. Then the last track ‘Armchair Anarchist’, which is Ollie’s favourite; (basically his drumming is the best thing on it) has a Ska sound, so we’re bringing Ska back!
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POP-PUNK
Downer Inc. - Whatever This Is Review by Ash Eyre
In the wake of all the chaos and craziness 2020 has thrown at everyone thus far, some new music from some great artists is the very least that we all expect and deserve. Kellin Quinn – frontman of American alternative rock and pop-punk group Sleeping With Sirens – has ventured into the world of solo projects and released an EP under the name of Downer Inc. giving us that new music we were longing for. The EP, titled ‘Whatever This Is’, consists of 6 tracks and was released on every streaming platform on September 16 this year. Despite being a solo project for Quinn, the tracks hold similarities to the later albums released by Sleeping With Sirens in that they have more electronic elements incorporated into them compared to their earlier works. However, Downer Inc. has a different feel to that of the singer’s main band. Where Sleeping With Sirens tended to release tracks about personal experiences that others may be able to relate to, Downer Inc. has songs about social issues that most of the younger generation have their own experiences with. The EP clearly focusses on issues and affairs surrounding people in Generation Z as the second track, titled accordingly as ‘Generation Z’, suggests. The EP starts off with the powerful ‘Ground Zero’ that sounds a lot like the track ‘Empire to Ashes’ off the second latest album released by Sleeping With Sirens, ‘Gossip’. The song features powerful vocals by Quinn accompanied by a lot of drums and bass. Something that Quinn has always been known for is his incredible vocal range and how he shows it off in his music; this song is absolutely no exception to this and his vocals are, once again, used beautifully but without being too overzealous. Towards the halfway point of the EP, the song ‘Work of Art’ features vocals by Eliza Grace whose voice blends effortlessly with that of Quinn’s. The dual, layered vocals and mix of modern synth and classic instrumentation add a wonderful sense of depth to the pop-rock sounding track. The lyrics work hand-in-hand with the duet between the two artists to make the track come across to the listener as a pop-rock romance ballad.
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The title track – ‘Whatever This Is’ – comes as the final song and rounds up the EP. It has a typical pop-punk sound to it and is very reminiscent of early 2000s music thanks to both Quinn’s vocals and the upbeat drums running throughout the whole song. In contrast to the regular pop-punk style, Quinn incorporates his screaming skills into this track with some powerful background screams towards the end. The song ends with a classic pop-punk style fade-out at 3:23 feeling somewhat too soon. The title track almost seems lesser than some of the other tracks in this EP and doesn’t really uphold the reputation that a title track should. The song ends almost too abruptly with the fade-out and seems like a weak song to end with even though it is still a good piece.
Overall, each track works well together and forms a well-rounded EP but some may say that the ending is rather disappointing. There are some far more powerful and striking songs in the EP to the last/title track so some may ask why Quinn chose to end with the track he did. Despite this, many fans took to the EP well and were thrilled with its release during such a difficult time. Hopefully an album is soon to follow this release from Downer Inc.
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W E I V E R C I T S U ACO Interview By
Kieran Campbell
Gemma Baker
K
ieran is a Folk artist from Lincoln and has been in the music scene for around 10 years give or take. Inspired by the early 60s era of the New York folk and poetry scene. We caught up with Kieran for some quick fire questions of randomness and music related subjects. Kieran Campbell Quickfire: Round 1 What’s your favourite flavour of Naan? Chickan tikka of course, only way forward. Who’s your greatest musical influence and why? Bob Dylan, just everything he did in the 60s with the civil rights movement and the songs that were produced in that time, was amazing. What do you think of SAT NAVs? Just a bunch of Karens, do not like them, we are all made to be lost. What’s your favourite memory of being on stage? Probably when I was playing at an old venue called MOON ON THE WATER, and I was supporting Billy Liar and The Homeless Gospel Chior, just seeing a room packed with people all just loving music and being together. Is it true that you are able to perform open heart surgery with just a butter knife and a bottle of whisky? It is true, I can also replace a light bulb with pasta bake. What do you enjoy about writing and performing songs? The idea of people hearing songs I have wrote and just hoping they find a meaning for their own personal wellbeing.
What are your creative goals for 2020/2021? TOUR, TOUR and more writing most likely and hopefully finally get on BBC radio
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Who are your top three favourite Lincolnshire bands/acts? Oooo Good question, most likely: Jake Newby, Ben Simmons and Alice’s Ants and Yourself of course, I know thats 4 but I did not read it correctly, so theres 4. What do you think the world needs more of? Music venues and less negative people. What do you think the world needs less of? Karens How can we find your music online? Spotify, Itunes, Youtube, Deezer, Amazon Music, your nans hearing aids maybe, who knows, ask her. Can I steal your doggo? Erm, yeah sure, if you want, you will soon bring her back, she is one costly lady.
Thank you Kieran Campbell
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Ben Simmons - Olivia Review by Kieran Campbell
I had the chance to review one of Ben Simmon’s songs from his EP ‘Light & Shade’. The song is a very catchy number and has many different styles of music into one, with a constant acoustic riff leading the charge of the song and then Ben seems to throw in a few blues guitar riffs mixed in modern pop, it is a must listen, you will be dancing on the tables in the night. Ben has featured on BBC radio a few times and hopefully will carry on his rain of good vibes.
Rating
Kev Hackney - Running Back To You Review by Kieran Campbell
“Running back to you originally written for bluesman Jez Davis. Written after a concert the drink flowed and I forgot that I’d written it till Jez recorded it and thanked me. Singing here with Vwede Nova (Anthonia)” This song is a great one, telling stories like a lot of Kev’s tunes, with the back up of Anthonia, they make a fantastic partnership in music and one you must check out and just listen to as they will blow your mind. Kev has written so many songs and they all have a meaning behind them, my personal favourate is ‘What a Bitch’ but thats for another time.
Rating
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