Under City Lights Autumn 2014 by Mayanne Soret

“Being an intellectual creates a lot of questions and no answers.” - J. Joplin

UNDER CITY LIGHTS MAGAZINE

THe Sex Issue:

BUTTS VIRGINITY MUSIC TO MAKE LOVE TO

FKA TWIGS

REVIEWS:

JOHNNY MARR

NIGHTMARES ON WAX

The Listening Edge: Brand New sounds for the musically curious

¡ PR BY G ODUC E REE ND D AY !

EXCLUSIVE INTERVIEW

Matt Grocott and The Shrives

RARE FM’S MUSIC AND ENTERTAINMENT MAGAZINE

Editor’s Letter In the words of Frank Zappa, “writing about music is like dancing about architecture”. Last weekend I climbed Notre Dame and danced like Miley Cyrus at a construction site. Writing about music nowadays pertains to a history of pretentious journalism, backstabbing and snobbery…so I see what Frank was getting at. Under City Lights magazine is UCL’s first musical publication; we aim to eradicate the pseudo academic ‘jokes’ that people pretend to laugh at in other publications, and bring something funkyfresh, original and informative into circulation at a university, which just happens to be plonked in the middle of some of the best nightlife in the world. Love or hate what you read in these next few pages, please pass Under City Lights to a friend (or a stranger), and maybe one day we’ll be as legendary as bello. Marnie Wood, Editor in Chief.

TUNE IN NOW! The Under City Lights Radio Show Every Thursday 4-5pm RAREFM.CO.UK

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REVIEWS: JOHNNY MARR p.6

FKA TWIGS p.8

NIGHTMARES ON WAX p.10

HIGHLIGHTS: MATT GROCOTT AND THE SHRIVES

We interview the up-and-coming young rock band from Lincolnshire , produced by Billie Joe Armstrong of Green Day p.12.

FEATURES:

GREAT SEXPECTATIONS

Mayanne Soret and Marnie Wood talk virginity, music and fresher’s culture, pg 22.

CULTURAL APPROPRIATION

Frankie Chappell discusses Taylor Swift, Hello Kitty and Beanies p. 16

BUTT WARS

What is more appropriate in an issue saturated with sex than an article about bums? pg 24-25.

GOING OUT

Our veteran team of writers review some of their favourite venues on page 16.

COLUMNS: DON’T PANIC, IT’S PENNICK!

Your problems solved, by someone who is in no way qualified to do so, p.20.

TIPS AND TUNES:

Songs to shag to... or not. p.21.

EDITOR: Marnie Wood marnie.undercitylights@gmail.com

Editorial team

CREATIVE DIRECTOR: Jessica Rogers jsrogers@hotmail.co.uk

NEW MUSIC EDITOR: Sam Birkett birkett196@gmail.com LAYOUT DESIGN: Mayanne Soret mayanne.soret@ymail.com

facebook.com/UnderCityLights12 @UCL_Zine UCL { the RareFM magazine}

New music

New music Twice a month on the Under City Lights 8Tracks, our new music editor and procrastination enthusiast Sam Birkett gets his best-of together with The Listening Edge, our very own novelty playlist. For its very first issue of the year, we asked him to get a team together and deliver his favorite gems. Keep these pages preciously, your kids will thank you.

Joanna Gruesome This 5-piece produce noise pop with teeth, and this year’s seen them follow up their debut LP with two split EPs with Trust Fund and Perfect Pussy. Their ferocious energy and sugary melodies make for fantastic fuzzy bursts that I defy you to resist. Crows an Wra Cornwall prog-punk with a breathtaking sonic palette and enough passion to fill most every basement

in the South-West, their debut LP Kalopsia came out this September and you’ll definitely be seeing them incinerate your favourite small venues soon enough. Alpha Male Tea Party I’ve been listening to these Liverpool math rock monsters for a good while now and am still yet to come across a better description of them than bandcamp user Ashley West-Mullen’s: ‘AMTP take post-rock and math-rock monikers and stomp all over them with really heavy

BEST OF THE LISTENING EDGE: FKA twigs // Pendulum Chance the Rapper // Wonderful Everyday MONO // Where We Begin Deerhoof // Exit Only Mick Jenkins // Who Else Trust Fund // Reading the Wrappers Kele // Doubt Emma Ruth Rundle // Shadows of my Name Axes // Plan Americain Les Sins // Why ft. Nate Salman Mogwai // Teenage Exorcists Thom Yorke // Truth Ray Run the Jewels ft. Zach de la Rocha // Close Your Eyes (And Count To F**k) Chumped // Name That Thing Blue Hawaii // Get Happy UCL { the RareFM magazine }

boots whilst naked and covered in jam. If that doesnt sound like fun then this isn’t for you.’

this September, Vessel’s second album Punish, Honey still appears to have remained relatively unknown. This is a crying shame, yet understandable, as the jagged and irresistible rhythms of the album call to mind some sort of monstrous jukebox made entirely out of hulking industrial machines. Not one for the Top 40, but nor is it one to miss out on.

Officer Jenny Anti-folk, lo-fi, or as Stephen Cope (the lovely face behind Officer Jenny and recording studio Studio Studio Dada) would have it, ‘dead folk punk garbage’. Whatever you call the trashy cassettetape-pop brilliance of this project, it needs to be in your ears. Joey Bada$$ Joey’s already made Luo quite a name for himself Solo producer project by as flagship MC of New day, fully fleshed band York’s Pro Era collective, by night, Luo’s mu- creating hip hop that sic is a gorgeous sonic harks back to Illmaticsmoothie of post-rock, era NY cuts whilst stayambient and IDM, with ing firmly rooted in the skittering percussion mid-‘10s. If ‘Christ Conand layers of shimmer- scious’ is anything to ing, shivering synths go off (and bloody hell and guitars. Ideal lying- does it go off) his debut in-the-dark music, but LP B4.Da.$$ is gonna be just as great (if not bet- his best work yet. ter) to zone out to and marvel at live. These Ghosts Vessel These Ghosts take the Hailed as a watershed textures and arresting for British electronic emotion of post-rock, music by Drowned in infuse it with ambient Sound when it came out electronica and con-

Music Culture:

New music

Categorising electronic music is always a challenge and it is often hard to differentiate between deep house, trap, drum and bass, trance, techno, electro swing, French house, Latin house, tech house… (need I go on?). What’s for sure is electronic music is super popular at the moment and house music in particular dominates club nights around the UK. House music was first devised in Chicago in the 1980’s and was typically characterised by a 4/4 drum beat with influence from disco music at the time. The term ‘house’ in fact originates from the club venue called The Warehouse which was running in Chicago between 1977 and 1983. Since then the house music scene has influenced much pop culture with progressive house elements featuring in songs by artists such as Basement Jaxx and the Black Eyed Peas. It would be a challenge to go on a club night and not be dancing to any house beats, as its influence is truly engrained in electronic music. Classic House also still maintains its prominence with a huge variety of artists such as Eli & Fur, Wild Culture, SRTW and Ten Walls, and pure house nights are also massively popular in London clubs such as Fabric and Ministry of Sound. House nights are of growing popularity within the clubbing scene and often still hold the underground, warehouse feel of 1980’s Chicago.

House Playlist:

1 - Farley Jackmaster Funk Love Can’t Turn Around 2 – M.A.R.S. – Pump Up the Volume 3 - SRTW - We Were Young (Sascha Kloeber Remix) 4 - Ten Walls - Walking with Elephants 5 - Jamie xx- All Under One Roof Raving

New music

House It Going?

WRITER: Polly Wardrop

GET MORE NEW MUSIC Listen to the BRAND NEW playlist on 8tracks.com/under-city-lights THE LISTENING EDGE

Parks and Recreation’s Rashida Jones) and his dense it all into some newest EP Beloved is truly gorgeous indie sumptuous, inventive rock songs. Melancholy and groovy. with just the right bite, Sam Birkett they’re fantastic on record and astounding on Novelist stage. If you haven’t been paying attention, it could P. Morris seem like Novelist just Self-described as ‘goom- came out of nowhere, bawave’, I don’t see fit but recently he’s been to try and assign any getting all kinds of atother genre on Mor- tention. Catch the South ris. His music displays London Mc at Fabric a myriad of influences this month and listen now that he’s developed out for his distinctive as a producer (his earlier flow on tracks like Flawork includes a chill- vour (produced by Murtrap track named after lo)

and Take Time (pro- weeks at EGG duced by Mumdance). London, but his own stuff has a distinctiveMother Superior ly more chilled vibe – Formed just last year Owawa Ne (tagged as and based in Liverpool, Afro Chillout) is a perMother Superior make fect example of this, self-described with minimalistic and “Noise Disco”. Bass-y, totally smooth producfunky and dirty, every tion. song was made to dance Frankie Chappell to, but there's an unmissable amount of attitude in the vocals. Check out their Soundcloud for some of their live sets; No. 3 is a personal favourite. Paddy βagel You can catch DJ/Producer Paddy βagel (aka Patrick Baigrie) most

LEARNING FROM THE MARRSTER - JoHNNY MARR @ 02 academy brixton

‘‘MAss OF DESPAIR AND DEFIANCE”

If you think a guitar is just a piece of wood with strings attached, and if you think guitarists are just those guys at parties lying in wait for the opportunity to croon along to Wonderwall, then obviously you’ve never seen Johnny Marr before. Guitars come alive for Johnny Marr, they buck and keen, tremble and sparkle. They are in a mutually beneficial relationship where both look happy to be alive. Johnny is the guitar player, and tonight he’s on fine form. The eponymous track from his sprightly new album Playland is a decent warm up of an opening song, but things really take off when he casually drops a note perfect Panic into the set, a song by his previous band The Smiths (you may have heard of them). He cuts a rakish figure, standing centre stage, all lean muscle and perfectly coiffured mop of black hair, baring a passing resemblance to an indie crow. Considering how much of his life he’s spent standing to the right of other (rather scene-stealing) frontmen, he owns the space like a pro. In fact, you wonder how he ever stood any-

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where else. Songs from his first solo album The Messenger are greeted warmly, Upstarts sounding deeply cool and Generate Generate! causing a wonderful ruckus down the front. The new songs slot in nicely, with a less spiky, more melodic feel than the first album’s new wave groove, first single Easy Money especially will be filling indie disco dance floors for years to come. The crowd is firmly into the realms of hero worship. There isn’t room in this review to unravel the hold The Smiths have on the hearts of everyone from the middle aged dads flinging pints with abandon to the fey students in their big cardigans and everyone in between. But the goodwill and respect in the room is a force to be reckoned with (Johnny is easier to love than Morrissey anyway). There are even a few people bowing during the Stop Me If You Think You’ve Heard This One Before solo, and really with fret work that fine, who can blame them? It isn’t a slight to the new material that the songs that get the best reaction are The Smiths ones - it could never be any oth-

er way. The liveliest song of the night goes to a storming Bigmouth Strikes Again anyone who isn’t dancing the second that opening riff kicks in I would advise to seek medical attention without delay. There Is A Light That Never Goes Out rounds off the set before the encore, descending into a rousing sing-along, tenderly orchestrated by Johnny, drawn out long and stately and with every drop of emotion wrung out of it, and sung by the crowd with fervour befitting a national anthem. For the encore, we’re treated to a costume change, with Johnny proudly showing off his own merch to great effect (a warning to Johnny’s fellow 50 year old blokes in the room, you might not look quite as fetching in the tight blue t-shirt as our favourite guitarist does). We’re told that Johnny would like to invite a friend onto the stage- and it’s only Noel bloody Gallagher! As address books go, Johnny Marr may have the coolest in the business. Noel’s on stage for an ice cool Lust For Life cover, and… Well, he just sort of stands there actually, taciturnly strum-

Noel Gallagher! The row of lads behind me chanting his name are evidently impressed at least. The night ends with that world-beating, writhing mass of despair and defiance that is How Soon Is Now, which strains every voice to breaking point and fills every heart to the brim. As it fades out Johnny is the last man on stage, standing

tall on a monitor and holding his guitar like a hard won trophy. He is the guitarist, but he’s more. He’s a showman, a songwriter, a solo artist, and he absolutely steals the show. Amy Gwinnett

LIVE REVIEWS

ming away while Johnny preens at the mic. Maybe he knows there’s no point showing off when the master is in the room. Or maybe his Gogglebox appearance didn’t get as many views as he was hoping and he’s grumpy. Or maybe it’s that he gets hit on the shoulder by a stray pint seconds after taking to the stage (it’s probably that). But hey, it’s

LIVE REVIEWS

TOP TRACKS: The Smiths // What Difference Does It Make Modest Mouse // Dashboard The Cribs // We Share The Same Skies Electronic // Getting Away With It Johnny Marr // New Town Velocity

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LIVE REVIEWS

On a Hackney Wednesday evening, a softly spoken woman alluded to the influence East London has been to her artistic development, thanking her loved ones before launching into ‘Kicks’ (‘I just touch myself and say/ I’ll make my own damn way … ‘). This is the kind of unapologetic representation of a whole person that is too often missing in popular culture.

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I can’t say it was unexpected. Since her Mercury nomination and the release of magnificent debut album ‘Lp1’ under Young Turks, the buzz surrounding Gloucestershire-born FKA Twigs has been simmering. Her haunting vocals were sometimes reduced to a whisper and her words weren’t always clear. She seemed to be singing more for herself than the sold out

Hackney Empire. It made for a highly introspective performance which only served to captivate. She danced in a disjointed yet beautifully flowing manner, apparently more out of compulsion than rehearsal, breaking into an intense dancing duet with a male dancer under aggressive strobe lighting. The result was a spectacular fusion of highly honed dance,

out against the recent pilot scheme to give age ratings to music videos in the UK, “I think that the answer to protecting younger viewers is not to ban things, it’s to show an alternative. "I guess with my videos we’re talking directly about sexuality and there’s nothing wrong with that.” Again, she raises an interesting point. It is not a spectrum between women ignoring their sexuality or immediately jumping into the nearest ‘booty video’. It’s about women in the media being portrayed as people: multidimensional and with their own agency. In the context of a society still struggling with sexism, it’s about female artists representing their own voices and not acting as a mouthpiece for patriarchal culture. From the gallery of the Hackney Empire, I can’t help but feel I have the rare

opportunity to peer into the world of FKA Twigs: a world that would exist with or without my gaze, a world post-genre, post-race, postobjectification... It’s a world which I’d permanently like to inhabit. Music forms a big part of the context in which we live our lives, and I am delighted that there are females like FKA Twigs now informing that context and adding a female narrative. Yaa Oppoong

oN HER OWN TERMS - FKA TWIGS @ HACKNEY EMPIRE

lighting, vocal skill and instrumentation that I can only describe as powerfully expressive. She has been quick to reject the ‘alternative R&B’ branding she has received. And it is true, specifically picking out this facet of her intricate and unique musicality is no doubt an example of the ubiquitous racism in our society. Perhaps, too, we shouldn’t be surprised that someone who is creating such personal art doesn’t wish to be confined to a genre, especially one which could be seen to condescend its ‘juvenile sibling’ R&B. There are others: ‘alternative R&B’ labelled women creating highly original music. Jessie Ware, Banks and Kelela are all artists at the tip of the iceberg of a highly eclectic underground and all probably share more differences than similarities. FKA Twigs has also spoken

‘‘it’s about female artists... Not acting as a mouthpiece for patriarchal culture’’

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WAxING LYRICAL - Nightmares on wax @ the forum

When a show’s bill and budget is big enough to accommodate Nightmares on Wax, Peanut Butter Wolf and DJ Food, the feeling of promise is huge. Indeed the first thought of fans is usually: ‘That’s an incredible line-up, I hope it’s as good as it sounds!’ To say that the promises of this recent Kentish Town Forum lineup were delivered would be an understatement. The show opened with predictably smooth and ambient performances from the likes of Paul White and Teebs. For those uninitiated, both these performers are well worth checking

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out both for their engaging live performances and their excellent recorded material. Paul White played a collection of tracks from his new album, Shaker Notes, creating the perfect relaxed atmosphere to open the show. Teebs played next, choosing predictably spacey tracks that built beautifully as the set progressed. Although the set started slow, the tension and intensity grew to a glittering sonic finale that transitioned beautifully into the night’s headliners. Nightmares on Wax was the first of the night’s three headliners to play. DJ Ease chose to open with

new classic ‘Now is the Time’ from his latest album, Feelin Good. Starting his set off with this reggae and disco inspired dance tune was the perfect choice to begin the performance, as the crowd hit the dance floor the instant the track dropped. The rest of the set consisted mostly of N.O.W classics with a range of hits from all his albums being played. Particularly fun was the inclusion of some earlier, lesser-known songs like the hyped ‘Mega Donutz’, a hit that evokes Ease’s late80’s-techno inspired first releases. It is true to say that the incredibly diverse range

of N.O.W’s music was on full display, to excellent effect. Peanut Butter Wolf was next to play the stage, dropping 90’s Hip Hop classics from the likes of A Tribe Called Quest and Wu Tang Clan, whilst mixing the audio from videos being projected to the back of the stage into the songs. Although the choice of tunes was to some extent predictable - this is far from the first 90’s hip hop DJ I’ve ever heard drop ‘Protect Ya Neck’ at the end of their set - Wolf’s ability to make these tracks sound fresh and exciting by mixing in unpredictable audio segments and unusual cross track fades made the set an enjoyable one overall. Wolf’s use of classic tunes combined with his innovative audio-visual rig made

for an exciting and original set. DJ Food more or less closed the night with an excitingly modern and informed set, including remixes of the latest TuNeYaRdS single ‘Water Fountain’, and British Afrobeat punk collective Melt Yourself Down’s ‘We Are Enough’. Elsewhere in his set early downtempo and breakbeat tracks dominated, adding to the laid back, dancey atmosphere created by his predecessors on the stage. The only criticisms I could level at the gig would be that the quality of the sound system at The Forum was poor: there was too much bass and a generally muddy sound, and the fact that there were so many performers meant that N.O.W didn’t receive a

huge amount of stage time. This being said, these were more the failures of the venue than of the performers themselves. All this considered, an impressive gig with an amazing line-up that certainly delivered; although not executed by the venue brilliantly, the energy and enthusiasm of the acts made up for this. Anyone looking for a great musical experience should look no further than these performers or their excellent recorded material that is guaranteed to be the backing music for many a late night gathering.

LIVE REVIEWS

Will Eckersley

“guaranteed to be the backing music for many a late-night gathering”

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COVER STORY

From Grantham, Linconshire, Matt Grocott and the Shrives fell into a whirlwind of fame this year after having a song produced by Green Day frontman Billie Joe Armstrong. Under City Lights editor Marnie Wood went to find out more about the recording process and talked social media and burritos with the up-and-coming young band.

MATT GROCOTT AND THE SHRIVEs: An interview

UNDER CITY LIGHTS: Your debut single ‘Turn Me On’ has a great dirty punk vibe, is this something you aim to create through your music? Joe: When the rest of the songs come out you’ll know that it’s not all like that. Josh: The next song we’re gonna releasethe drums are electronic, it’s a lot weirder! It was done way before America, we sent it to Joey [Armstrong]; he really liked it. Matt: We were gonna re-record it but we mixed it and kept the drums in, it’s all very varied. Josh: There’ll be some more continuity in the E.P that comes out at the end of November. UnCL: Tell me more about your influences… UCL { the RareFM magazine }

Matt: The Clash! Jamie T, Green Day, The Hives, Johnny Cash is a big one for me, we like that country vibe. Josh: Our song Crook has a country rhythm. Joe: We don’t just listen to rock, there’s a lot of ska and reggae too. UnCL:As I understand you are an amalgamation between two bands…how did that come about? Josh: We were putting a band together after Jingletown, me and Tom were in a little jazz group and there was a ska band…both faded away so we combined Wrecklass Necklass, our punky/metal band with Matt; he had good songs and we were a good band!

COVER STORY ‘‘We went to get a burrito and Joey was like so yeah, my dad’s gonna play bass!’’ UnCL: And here is the question I’ve been ach- Joe: 1000 people have downloaded our song now, ing to ask… Explain how you managed to get it’s mad! Green Day legend Billie Joe Armstrong to produce your track? UnCL: Are you planning on recording any more material? Matt: I used to talk to Joey [Armstrong] about music on myspace! We kept in contact and I went Joe: Our other stuff is gonna be released next year, to see his band Emily’s Army last year in Manches- we’re looking for a label to release it on. At the end ter and we hung out after. He liked our stuff so in- of November we’re going to stream the four track vited us over to the US. E.P on Soundcloud and Spotify. We’ve sold lots of Josh: He came out with the fact that Billie Joe was demos on tour! That’s great as nobody buys CDs going to do the producing and we had Chris Dou- anymore! gan engineering. We went to get a burrito and Joey was like so yeah, my dad’s gonna play bass! UnCL: What advice would you give to young musicians wanting to make it in the industry?

‘‘We expected people to latch onto the Green Day thing; we’ve been in Kerrang! And NME. ’’ Josh

UnCL: What input did Armstrong have? Did you learn anything valuable during the recording process?

Matt: Be lucky! You’ve gotta take every opportunity you can get!

‘‘You can get a band with 20,000 likes who’ve only played two gigs!’’ Tom

UnCL: What’s your opinion about using social media as a promotional tool? Personally I feel Josh: He was quiet at the back! a lot of bands use it to brand themselves beJoe: he did a lot with Joey on the drums; he put in fore they’ve found their own identity. the “woahs” in Turn Me On. Josh: He made everything simpler, he was usually Matt: It’s good but you can get lost in it sat at the back reading Rolling Stone and would Joe: It’s all about likes - you can buy them! occasionally shoot up and say ‘hold on, do that Tom: You can get a band with 20,000 likes who’ve again.’ he has a great ear for stuff. only played two gigs! Matt: We were there for ages and the end of recording our acoustic song, there was a little ratUnCL: You’re playing Camden Nightmare festle on the last chord and he made me do it over tival tonight… Are there any other acts you’re and over, I had to take my rings and jacket off! He excited about seeing? taught us to keep it simple! UnCL: Has the public response shocked you? Josh: We expected people to latch onto the Green Day thing; we’ve been in Kerrang! And NME.

The Band: The Tuts - they sound like Lily Allen. Magnus Major, Feed the Rhino, Pups - who we saw at Leeds. WRITER: Marnie Wood PHOTOGRAPHY: Ieva Matulaityte

UCL { the RareFM magazine}

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From left to right: Joe, Matt, Josh and Tom, at the bar in The Constitution, Camden.

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ARTISTS TAKE NOTE: CULTURAL APPROPRIATION ISN’T THAT HARD TO AVOID

Cultural appropriation is a hard thing to budge when people don’t even realise they’re doing it. You might have noticed for a while that this subject has been getting people all riled up. Think: Taylor Swift’s ‘Shake it Off’ video, using a stereotyped idea of hip-hop culture as a prop; Gwen Stefani in the days of her ‘Harajuku Girls’ (and that famous Bindi); and Avril Lavigne’s ‘Hello Kitty’. I could go on and on: there’s probably a whole archive dedicated to it somewhere. The point is, acts like this reduce an entire culture and its values to what is essentially a gimmick. A hope-inducing wave of social activism via the internet and social media has cropped up in UCL { the RareFM magazine }

recent years, with issues of feminism, racism and LGBT rights all being more widely discussed and with it, constant critique on the way those in the public eye treat these issues. Yay for tweeting! This might seem promising but the amount of cultural appropriation that still occurs in popular culture shows that we’re not out of the woods just yet. This is the 21st century and people are seeing more of other cultures than ever before. The issue is, though, some people just don’t understand them, or make the effort to. You cross the line from appreciating a culture into appropriating it once you isolate one aspect of it without acknowledging its wider meaning. Just because you welled up at Pocahontas doesn’t mean you

understand the struggle of the Native American people enough to wear a sacred headpiece to a music festival. It’s not even just ‘foreign’ cultures and concepts, so-called ‘sub-cultures’ are often ignorantly misused in this way too. An example of this is hip-hop: being such a widely popular genre now, people often forget where it started - an underground route of expression for a group of people whose voices rarely got heard. When Taylor Swift and Lily Allen mock this with their stereotyped ideas of hip-hop culture, they completely undermine and disrespect it. If you look at hiphop’s origins and evolution, for example Ol’ Dirty Bastard’s album cover with his welfare card on the front, it’s not hard to see

17 why major artists would show their new success in their videos. It’s also important to remember that Cristal and pet tigers aren’t actually all they’re talking about, despite what Lorde might think. It seems as though these pop artists have a pretty narrow view of what they think hip-hop is. People always pull Iggy Azalea into this discussion but I don’t think that what she’s doing with her music can be 100% defined as appropriation. Okay so it’s true that her accent is completely synthetic and could definitely be (and has been) viewed as mocking. But in contrast to other artists that reduce the genre to its most recent stereotypes, Iggy seems to understand that it’s based around a struggle. In ‘Work’ she says (over and over, lest we forget) “no money, no family, 16 in the middle of Miami”. Maybe flying to Miami from Australia as a teenager to pursue a music career isn’t 100% representative of other struggles seen in hip hop (lol), but at least she understands the premise. She seems to try and fit into hip hop rather than try and make it fit around her. Honourable mention: Club de Fromage’s “Toffs and Chavs” night at the O2 Academy Islington. Their door policy is “Bullingdon Best or Council estate bling. Posh tweed suits, pipes, bowler hats, hunting or tracksuits, baseball cap, fake bling and asbos.” Genuinely don’t know where to start on that one. It’s pretty evident that industries with the ability to make money off of what they see as a trend will exploit it completely: aspects of Japanese street cultures caught the eye of the west and it resulted in an epidemic of ‘kawaii’

Bebo backgrounds. Avril Lavigne’s ‘Hello Kitty’ reflected this so well she could almost have gotten away with calling it satire. It’s pretty obvious that when something starts to become popular everyone wants a piece. Those who like to play devil’s advocate are maybe thinking “but what about cultures that appropriate white/British/American culture, HUH?”. Well, history is pretty key here. A mainstream majority culture that has arisen after centuries of colonialist expansion using cultural aspects from groups of people that have in the past been exploited or oppressed by said culture, without any regard for its traditions, is not the same as someone in an eastern country wearing a Pink Floyd t-shirt.

“It’s pretty evident that industries with the ability to make money off of what they see as a trend will exploit it completely ”

feeds. But I’m not really sure that respect and sensitivity to other cultures is actually a crazy idea. Maybe I’m alone here. It definitely seems like popular culture is slowly and surely becoming more self aware; cultural appropriation critiques are just one of the ways we’re starting to question the way we act in modern society. Acts of cultural appropriation, sexism, etc. are being shot down left, right and centre with the fiery arrows of social activism via the internet. Glastonbury’s Emily Eavis this month made the sensible decision to listen to said internet and place restrictions on the sale of Native American headwear. If you’re interested by a culture, learn about it. Don’t restrict it with a narrow-lens view of what it represents. Let’s set the pith helmets aside and put on our lovely socially, culturally and ethically aware, non-offensive thinking caps - a beanie, perhaps? WRITER: Frankie Chappell ILLUSTRATION : Sveta Radionovskaya

To say we shouldn’t share our cultures with each other would be ridiculous, especially since I’ve banged on about how diverse the western world has become. The key is being aware of how you interpret and project different cultures. Realistically, Taylor Swift probably didn’t have much influence in making the ‘Shake it Off’ video, but that doesn’t release her from blame, it just highlights the fact that celebrities should be more aware of the message they send out. At this point the Mark Corrigans of the world are likely screaming “IT’S POLITICAL CORRECTNESS GONE MAD” at their Twitter UCL { the RareFM magazine}

BUSSEY BUILDING:

GOING Out:

The Bussey Building/CLF Art Cafe is two bus rides away from mostly everyone who lives north of the river. Putting aside the excitement of going over to the south, it is one of the only places I’ve ever been where you are guaranteed a bloody good night. Its trademark night, The South London Soul Train, is the biggest night of soul, motown and funk you’ll get inside the M25 (four fucking floors). You are sure to be still there till at least 4am when suddenly that Marvin Gaye song you’ve always loved but forgotten exists is played and then fuck it, you do want to stay another hour. If that’s not your thing, too bad, because it hosts many other similar nights like Steviewonderland, Million Dollar Disco and the Mighty Cheese Ball. Maybe it’s going out that’s not your thing – for you the abstinent they have readings and shows and in TimeOut last week I read you can get your hair-cut there while eating Vietnamese street food and listening to house (‘Trims with Tunes’). Rosie Todd

THE UNICORN:

With most gig venues in Camden giving you little change from a fiver for you pint and the chance to hear your chosen artist through a PA they bought in Camden’s 80s heyday; a short stroll up Camden road reveals the Unicorn. With free live bands most nights catering for every niche of metal and decent drinks prices, the Camden spirit has shifted a little. With one of the best sound systems around, I’ve discovered some great new bands there that can’t hide behind fuzz and hum allowing talent to shine. Get drunk and mosh the night away. Sam Bass UCL { the RareFM magazine }

OLD BLUE LAST:

This venue is everything about Shoreditch that people shouldn’t scoff at, and pretty much everything else too. Owned by Vice magazine, it’s remained on the biting edge of new music for ages and its dominance doesn’t look likely to abate. Interested in catching one of many ‘next big things’? Here’s where you should hang your vintage hat. Sam Birkett

UndercityHighlights:

rare fm does ronnie scott’s

Thursday saw the old RareFM gang (and some newcomers) gather at one of our favourite haunts, the world famous jazz club Ronnie Scott’s for the open jam session. It never ceases to amaze me that combining some cracking jazz music with a bunch of great personalities can make for the most beautiful of atmospheres. The evening began with the usual chatter bouncing around the

corner (the one and only ‘nibber’ had reserved two tables for us). Yet as soon as the band began to play there was silent but unanimous decision to meander over to the front of the stage. Ears were eager to hear the expressive notes and the house band did not disappoint. It wasn’t long before arms began to flail and feet involuntarily tapped across the floor: a united groove. The drummer was on fire

and the swelling brass chords with bursts of sax (even if the saxophonist did have a dodgy haircut) gave a perfectly chaotic ambiance. Members of RareFM brought in their instruments (you can get in free if you do!) and joined the jam session. Watch out for the next Rare session at Ronnie Scott’s @RareFM!! WRITER: Hannah Amies PHOTOGRAPHY:Alja Podgornik UCL { the RareFM magazine}

DON'T PANIC iT'S PENNICK YOUR PROBLEMS SOLVED, BY SOMEOME WHO IS IN NO WAY QUALIFIED TO DO SO.

‘‘I don’t have a strong opinion on the size of female butts’’

and I own a juicer, have a subscription to GOOP and have more than one ‘inspirational quotes’ board Dear Pennick, on Pinterest!! I’ve started The female butt has been blaming bad things on Mergiven a lot of attention as cury being in retrograde! I of late, and I find myself don’t even know what Merdrawn into heated discus- cury in retrograde means! sions on the various merits Please help me, I’m very of big booty. However, I re- concerned I might be basic. ally don’t have an opinion - xoxo.lanadelrayistheon butt size. I do not under- soundtracktomylife.xoxo stand the concept of ‘bootyfull’ and I don’t really dif- Dear xoxo.lanadelrayisferentiate between ‘skinny thesoundtracktomylife. bitches’ and ‘fat-ass bitches’ xoxo, in da club’. I don’t give a hoot This is a very grave situaabout the size of a woman’s tion. We’ve all been there, derrière, just so long as she you start emotionally relatlikes long strolls along the ing to a Taylor Swift song, beach and Jane Austin nov- and you know its time for change. els. Does this make me less of Take a good hard look at a man? Is there something yourself right now. Do your nails have nail art on wrong with me? them? Are you sat in star- MyAnacondaDontCare bucks reading this? Are you wearing denim cut-offs? Dear MyAnacondaDonTake them off! It’s winter! tCare, I have massive news. A per- A bit of basic-ness here and son’s worth is not defined by there is nothing major, but size of butt. You’re welcome. I’d stop while you’re ahead otherwise you’ll end up at Happy shagging. Coachella wearing a Native - Pen. American headband. Just ‘‘I think I’m a basic bitch’’ no. Pen. Dear Pennick, ‘‘How do I know if she It all started with one yoga likes me?’’ lesson. My best friend told me about Chad who is this super cute yoga instructor; Dear Pennick, Liv said I just have to try There’s this girl that I really him because he changed like. We had a few lectures her life - three months later together, I asked her out

UCL { the RareFM magazine }

and we went on a few dates, and I thought we really had something going. Then the other night I invited her over to my place, to ‘hang out and watch TV’, and suggested we could watch the new season of Game of Thrones. Totally thought I was in there, but then she showed up dressed up as Tyrion Lannister, bought this giant encyclopedic b e h i n d - t h e - s ce n e s - o f game-of-thrones with her, and slapped my hand away every time I tried to make a move! I tried to tell her how into her I was but she literally shushed me. What do I do? I’m so bad at reading signals! - NatalieDormerIsWellHot

Dear NatalieDormerIsWellHot Game of Thrones is some quality HBO programming. It is also not the sort of background to initiate ‘the pull’ (incest, murder, mutilation… really?). Even if this girl does like you, there is no way she’s going to tear her face away from the pure cinematographic genius of season 4 just to get the shift with you. Try ‘hanging out’ and watching Big Bang Theory instead. If she’s still shhing you through that, then I’m afraid she’s just not into you. - Pen. Twitter/Instagram @katiepennick

FIRST WORLD PROBLEMS IS BAD MUSIC GOOD FOR YOU?

Everybody falls into the occasional pizza, chocolate and Netflix rut (nobody can be that Shermazing). In fact, right now, I’m probably in the largest one of my life, what makes it worse? I’m supposed to be a musician. I’ve been singing and writing music since I was old enough to own a set of gel pens and a Groovy Chick notebook, and at the age of 10 rhyming couplets and similes were in no way a musical fail (my mum loved them). So why do I feel inexplicable guilt inside me as I sit next to a hipster on a bus with my iPod, unreachable in my back pocket, on full volume and blasting out Nicki Minaj? It’s not that I even like chart music (or this is what I tell myself). Everything is structured using the same four chords, the stars are not musicians, just immoral pawns for perverted music industry bigwigs and the lyrics, well they are crapper than the ones I wrote aged ten, probably… But some days my head feels too full for John Lennon, Jim Morrison or Kate Bush, even the simplicity of Fleetwood Mac’s ‘Don’t Stop’ is too much for my brain after a two-hour lecture on Ernst Gombrich. I want to fill my ear canals with Carly Rae Jepson or something by DJ Sammy and forget academia. I am becoming scared Doctor… Every month my iTunes ‘Recently Added’ is becoming further saturated with chart singles and happy hardcore. Yesterday I even downloaded some Pitbull. I need medical attention. Don’t get me wrong, I enjoy a variety of genres and still frequent Jazz Jam at Ronnie Scott’s, I’m just concerned my binge-drinking, nightclubbing and disco pant wearing years are catching up on me. It isn’t the case that other genres don’t also remind me of great times, it is just that chart music happens to be an easy medium for me to relive these by. Insignificant lyrics and predictable key changes distract me from my quarterlife-crisis more than Nick Cave does by banging on about something sombre. Aretha Franklin can soothe me, Kate Nash still empowers me, but only Iggy Azalea makes me believe I can fit in and be a boss bitch, maybe just on the way to Morrisons. Sometimes music should just be for fun, and the hangover certainly makes me appreciate ‘Rumours’ a little more every listen. Just make sure there is an intervention if I decide my first dance is going to be to ‘Wrecking Ball’. Marnie Wood

UCL { the RareFM magazine}

NICKELBACK// DARK HORSE Beginning with the gem "Something In Your Mouth" to get you in the mood, the postgrunge band's sixth offering presents a number of topical tunes to hold your hand on your sexcapade. On track four, "I'd Come for You", generally accepted premises are reaffirmed and "Next Go Round" immediately afterwards inspires you to more. Track nine, "S.E.X.", provides a handy reminder of what ought to be happening, in case you've somehow forgotten. Toward the end "If Today Was Your Last Day" reminds you of the only way you'll ever live the fact that you've had sex to a Nickelback album. All in all, this album contains all you need and should be high on your list. Jasper Murison-Bowie

UCL { the RareFM magazine }

tips and Tunes: ‘‘music to make love to” GREEN DAY // DOOKIE “17 and strung out on confusion”. I lost my virginity to Green Day’s Dookie of 1994 (ironically released in my birth year). The song was Longview, and the condom was glow it the dark. There’s nothing particularly sexy about the line “fermented salmonella poison oh no” but whenever I stick Dookie on it reminds me of the day I smoked my first joint, got a fillet of fish sandwich and broke my hymen. Marnie Wood

ANAAL NATHRAKH – ESCHATON You don’t make love or even have sex to Anaal Nathrakh’s Black Metal masterpiece that is Eschaton. Instead you perform an ancient ritual that summons the feared satanic beast with two backs. Limbs fly and sacred bodily fluids float in the ether. For added effect, why not forget the bed and get jiggy on a pentagram surrounded by candles to really get into the unholy spirit of things. Sam Bass

23 KANYE WEST // YEEZUS Yeezus has actually been overlooked as one of the sexiest albums of all time. OF ALL TIME. The album is basically a fricking sexual manual. Just listen to the breathless flow on 'Black Skinhead' and the undeniable sexual tension on 'I Am a God'. If you make it to the final track, 'Bound 2', you will almost definitely feel like you're on a motorbike KimYe-style. And, if you're stuck for romantic inspiration, you can whisper sweet Kanye-isms in your partner's ear, “hurry up with my damn croissants”.

Illustration: Ieva Matulaityte DRENGE // DRENGE Album opener People In Love Make Me Feel Yuck will stop whoever you've pulled getting the wrong idea about any commitment nonsense, while I Wanna Break You In Half will underline your sexy intent. If they try for any hand holding or eye contact during simply give a pointed look at the stereo as I Don't Want To Make Love To You snarls away, and the melancholy Fuckabout is the perfect song to watch them awkwardly put their shoes back on to, as you avoid eye contact and question your life choices.

Amy Gwinnett

LATE NIGHT CHILL

GODSPEED YOU! BL ACK EMPEROR // ALLELUJAH! DON’T BEND! ASCEND!

Frankie Chappell

When most people think of ‘sex music’, their minds tend towards the aural equivalent of velour furniture - slinky, Seventies, and subtly uncomfortable. I’m here to tell you that, much like everything else about sex, cheesy Seventies porn got the music very wrong. What the bedroom should really sound like is the tense, thrilling build of post-rock - I mean seriously, can you name another genre where people talk as often about a song’s ‘climax’ unironically? Besides, opening track Mladic is 20 minutes long, which is a far better time to be working with than the average R. Kelly song. Sam Birkett

Hidden amongst playlists of ‘Running’ and ‘Friday night party’ is the little gem of ‘late night chill’. To the less observant this may appear as innocent bedtime music but you’d be wrong: this is a well disguised sex playlist. One that is carefully crafted, too: from Blurs ‘She’s so High’ to the sensual sounds of Outkast’s ‘Prototype’ and ending in some of Al Green’s ‘Old Time Lovin’, it is the definition of perfection. While it has never actually been used, what I quickly realised was that this was music that made me want to have sex, not music to have sex to, and there is a clear distinction. With music comes memories so for me music during the act just brings a distraction from being in the moment. Some LCD Soundsystem before then J Dilla for afters, there lies perfection. On a side note, the worst sex I ever had was to Ms Dynamites album ‘A Little Deeper’. Not that the music had a lot to do with it, but I later found it pretty amusing.

Hannah Walker UCL { the RareFM magazine}

TOUCHED FOR THE VERY FIRST TIME: THE CONCEPT OF VIRGINITY IN OUR UNIVERSITY YEARS Inspired by ‘freshers’ culture, Mayanne Soret and Marnie Wood write honestly about our perception of virginity as we transition into adulthood. Do we still need to “make it through the wilderness” of sexuality to become ‘normal’, and is there ever a right time to lose your virginity? I was seventeen, and so was he. We’d see each other every two days in art classes. He turned to me one day and, as a joke, asked promptly: “Can I take your virginity?” And so it began, every time the same, insidiously perverse remarks, going on and on around the same issue. After a few weeks the frustration became palpable, and my charcoal drawings were interrupted by a regular exchange of electronic music and sarcastic remarks. “You will never please anyone”; “No one wants a virgin”; “Why have you still not lost it?”

“We appear to still be stuck in a narrative that makes the virgin a little porcelain doll, the ignorant and pale figure of innocence.” I recently realized barely any artists ever talk about the issue of virgin shaming. However, it is very present in our nightlife habits. As a fresher, it seemed primordial to a lot of my girlfriends, who had not (quite) been there at high school, to get it done with as fast as possible, in an attempt to legitimize their fresher’s experience. Does the genuine experience of youth come as a result of twisting your own sexuality into the meander of popular culture, UCL { the RareFM magazine }

up to the limits of consent; forcing a personal and intimate construct into the mold of widely marketed 2014 sexual imagery? I forgot about this teenage incident until I enrolled at University two years later. It was there that I started to notice my sudden obsession with how incredibly knowledgeable my girlfriends were. We appear to still be stuck in a narrative that makes the virgin a little porcelain doll, the ignorant and pale figure of innocence. We are convinced that the loss of virginity is the only way to find complete maturity and knowledge, an understanding that could only be reached by the approval of the male, and damn her if she has it already, because a girl who knows too much must be a slut. Being a virgin age 17 was not a conscious choice; it was just the situation, which came to be canonized as a social position that I had chosen to occupy purposefully. Indeed, there were no other explanations for my refusal to fit in; many assumed that it must have been some sort of political performance. So much so that people started to assume I must have been in the closet because I never held on to a boy for more than two weeks. As if my love life had some kind of expiration date after which I would obviously turn to the same sex in denial of my own failure to con-

quer the male. I still don’t know much about dating girls, but I am pretty sure it does not work quite like this. Furthermore, creating a social definition of what is (and what is not) virginity imposes a fully discriminatory discourse on the individual’s sexuality. My friend at school did not lose her virginity when she had sex with her boyfriend for the first time, although he was the first boy she’d slept with, but her sexual history seemed to be dismissed on the basis of her bisexuality. And that’s only for those who have it both sides, as my good friend once said: “It’s not that easy”. Overall, a girl is damned if she does, damned if she doesn’t, because in both cases she claims her body, and herself, as a separate individual entity. The anxiety behind virgin shaming is the same as that behind slut shaming: the claim of one’s own intimacy is a claim of freethinking. ‘Purity’ as a concept has come to represent both archaic oppression and fear of the free thinker, and it must be pretty scary considering nobody ever talks about it. Mayanne Soret

Like Mayanne I feel the concepts of purity and virginity should

25 no longer travel hand-in-hand, especially when linked to femininity. Unlike Mayanne, the race towards losing my virginity occurred much earlier on in my teenage years. Birth control was traded around in my school for favours, and condoms were given out in the 14+ club nights at our often-frequented rock club. My friend’s Mum disapproved

of her 15 year old being on the ing bullied or teased for being a pill, and I vividly remember her virgin, because nobody was one. Sexual experiences in our school “I don’t believe were as common as the chewing virginity is something to gum under the tables and the penis graffiti on the top. be ‘lost’ ” Like Mayanne, our sexual exdoing the homework of one of ploits were intrinsically linked the older girls for a month in ex- to popular culture. In a small change for a packet of Microgy- countryside market town we renon. I can’t recall anybody be- ligiously watched Skins, drank

cheap vodka, skipped school and smoked “to be cool”, having sex was just another article you ticked off the list. By the age of 17 all of my friends had “lost it” in one-way or another. Virginity as a concept just wasn’t a big deal; I think the lack of sexual education in my school may have contributed to this (we were taught how to put a condom on a banana in a twenty minute session long after we’d all already been at it). When I lost my virginity I didn’t even really think about it, I didn’t ever imagine my virgin-

ity as a ‘thing’ that could be lost; I just realized that I had ‘found’ sexuality. I found it bizarre that so many people at university felt the need to lose their virginity a.s.a.p; not because I recognized virginity as a heavy, pressurized concept, but because I didn’t. When a friend cried on me after losing her virginity to a complete stranger in a drunken freshers week frenzy it only reinforced my opinion that virginity just shouldn’t be such a big deal. Indeed sex can give you an emotional connection to

another person, and it shouldn’t be given to anybody without consideration (you can have too much of a good thing!) However I don’t believe virginity is something to be ‘lost’, as sex certainly is not the only place in which one’s self can be found. Marnie Wood ILLUSTRATION: Sveta Radionovskaya

UCL { the RareFM magazine}

THE LAST WORD...

“In a world where our sexuality is still objectified and abused by a large majority, are pop stars aiding the general population of women by retaining the body as the main focus of their music?”

BUTT WARs

Recently the bum has been bouncing back into popular culture… this time it is being championed by the butt’s empowered owner.

UCL { the RareFM magazine }

After the Robin Thicke fiasco “I’ll give you something big enough to tear your ass in two”, the female sexualisation debate is back on. Pop princesses Nicki Minaj, J.Lo and Beyonce have pushed their butts back into our psyche, however, I can’t help feeling that the presumed message of ‘priding ones posterior’ has become warped and distorted.

“Minaj’s whipped cream scene is Burlesque at its modern best, provocative yet comedic and saturated with bright colours to appeal to both a male and female audience.” I am elated that women feel confident enough to show off their bodies and sing about sexual encounters, however, in a world where our sexuality is still objectified and abused by a large majority, are pop stars aiding the general population of women by retaining the body as the main focus of their music?

Does the ever-prevalent image of the sexualized female body in the music industry desensitize us to its humanity? Does pretending that the male gaze doesn’t exist mean we can conquer it? Or are we putting more fuel onto the fire? Taking the recent Nicki Minaj video “Anaconda” and juxtaposing it with J.Lo and Iggy’s “Booty” I feel like the balance between adhering to the sexualized stereotypes and conquering them could be successfully found. Throughout the majority of her video, Nicki’s face is visible alongside her magnificent butt, however J.Lo’s body is faceless, dehumanising her and making her an object of purely sexual desire. Nicki’s lyrics comment on her sex life with satirical comedy and cheek whereas J.Lo talks about treating men with her ‘booty’ as the ‘prize’. Minaj’s whipped cream scene is Burlesque at its modern best, provocative yet comedic and saturated with bright colours to appeal to both a male and female audience. J.Lo on the other hand covers her body in watery gunge in a fetishistic writhing scene reminiscent of a 00’s

porno (the song isn’t of a much higher standard). Minaj champions her butt as a part of her femininity whereas Lopez destroys this vibe the second she offers her headless torso to a bloke for his “Birthday”. It is no woman’s fault that some men still see the body as a prize to be conquered; nevertheless I’m just not sure all this provocation is positive. Today I walked past some builders in denim shorts (my bum was nicely contained within said shorts) and a male builder shouted at me “my anaconda don’t want none unless you got buns hun.” I’m proud of my butt but I’m not sure Nicki’s message was correctly received… Or ever will be in a world where our butts will always need “tear[ing] in two” by those predatory arseholes (pardon the pun). Marnie Wood IMAGE: Sandro Butticelli

UCL { the RareFM magazine}

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