NARC. #182 April 2022 by narc_media

ISSUE182

APRIL22

FREE

RELIABLYINFORMED

KOMPARRISON LUKE ROYALTY STOCKTON CALLING BOB VYLAN NARC. COMPILATION ALBUM #16

PREVIEWS 4 HIGHLIGHTS Our pick of some of the best events in April

6 APRIL PREVIEWS ISSUE182

APRIL22

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32 KOMPARRISON Evie Lake talks to the North East five-piece about embracing their loud, proud, Northern identities and kicking against expectations on their debut EP Party poppers at the ready – this issue marks NARC. magazine’s 16th birthday! Obviously this makes me feel absolutely ancient – as one (ex-)friend pointed out, it’s all well and good starting a trendy music magazine when you’re 26, but not so clever when you’re 42 and people still don’t think you’ve got a ‘proper job’. Passing the milestone into unruly teenage years sits pretty well with me, although I tend to think that if NARC. was a person it’d behave more like a perennial toddler, needing constant supervision and attention. However, to labour the point somewhat, it’s also a source of absolute joy, a little heartbreak and only occasionally potential financial ruin – just like any normal 16 year old, then. April is one of my favourite months because of the burgeoning greenery, fresh breezes, bees and birds that Spring brings with it. It’s also the beginning of festival season (and I feel much more assured that this will actually happen this year), with my first all-dayer at Stockton Calling a much anticipated return to both live music promoting and being part of the glorious chaos of a room full of strangers sharing a euphoric musical experience. Find out more about the line-up on page 30!

Gear up for live performance from Eades, The Lovely Eggs, Cattle & Cane, KEG, Yucatan, The Young’Uns, Half Man Half Biscuit, Benefits, Gwenifer Raymond and loads more; plus theatrical wonders courtesy of The Hunger at Laurel’s, Opolis at Alphabetti, Head Girl at Central Bar and theatre extravaganza GIFT festival among others; there’s live comedy from Raul Kohli, Joby Mageean, Neil Harris, Joe Lycett and more; and art exhibitions including Grayson Perry, Bee Lines Through The City, Mounira Al Solh, Natalie Sharp and more

INTERVIEWS 27 NARC. COMPILATION ALBUM #16 30 STOCKTON CALLING 34 BOB VYLAN 36 LUKE ROYALTY 37 COVER VERSIONS 38 MIDLAKE 39 FIONA LIQUID 40 EARTH REQUIEM 41 DUNES 42 CIGAR CIGAR 43 HEATHER FERRIER 44 THE BROTHERS GILLESPIE 45 JONNY PELHAM 47 THE UNTHANKS 48 JOHN COOPER CLARKE 49 THE CUMBERLAND ARMS LISTINGS 50 LISTINGS

Editor Claire Dupree info@narcmedia.com Website David Saunders narcmagazineonline@gmail.com Creative El Roboto Advertising Claire Dupree info@narcmedia.com Stay social, connect with us NARC.magazine @narc_magazine @narcmagazine NARCmagazineTV

Cover Image Amelia Read Live Photography Adam Kennedy / Idene Roozbayani / Sam Wall Contributors Jake Anderson / Tom Astley / Paul Brown / Jonathan Coll / Mark Corcoran-Lettice / Laura Doyle / Lee Fisher / Lee Hammond / Eugenie Johnson / Adam Kennedy / Evie Lake / Lizzie Lovejoy / Jamie Lunnon / Hope Lynes / Chris Maltby / Robert Nichols / Michael O’Neill / Helen Redfern / Damian Robinson / Conor Roy / Mera Royle / Steve Spithray / Dominic Stephenson / Dawn Storey / Adelle Sutheran / Linsey Teggert / Andrew Thompson / Leigh Venus / Luke Waller / Robin Webb / Ali Welford / Maria Winter / Cameron Wright

VISIT US ONLINE WWW.NARCMAGAZINE.COM NARC. Magazine, Tel: 07748 907 914 Email: info@narcmedia.com Web: www.narcmagazine.com Published monthly by NARC. Media. Printed by Reach Printing Services, Middlesbrough. Distributed by CSGN All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. The opinions expressed in NARC. belong to the individual writers and do not necessarily reflect the views of NARC. or its staff. NARC. welcomes ideas and contributions but can assume no responsibility for unsolicited manuscripts, photographs or illustrations

The best of the rest…

REVIEWS 53 LIVE REVIEWS Reports from Benefits, Emma-Jean Thackray, Enola Gay, This Is The Kit, CHVRCHES, Stormzy, ZELA and more

56 TRACKS Reviews of releases from North East artists including India Arkin, Charts And Graphs, Michael T Ogilvie, Bad Amputee, Faye Fantarrow, The Whippet Beans, Tired of Fighting, Dayna Leadbitter and more

58 DEMOS Including Matthias Proud, Katie C, Emily Bosher, Cam Iyell and No One Likes Us!

59 ALBUMS New releases from brb>voicecoil, Pink Poison, Father John Misty, Walt Disco, SCALPING, Kae Tempest, Pillow Queens, Warmduscher, Kathryn Joseph and more

62 MIXTAPE Donny Jevs from Teessound Festival chats about his favourite songs

Next Issue Out 27th April

PREVIEWS THIS MONTH’S HIGHLIGHTS INCLUDE VIVID ARTWORK, IMPROVISED COMEDY RAP, AWARD-WINNING THEATRE, UNIQUE SOUNDSCAPES AND MUCH MORE BESIDES!

ART & LIT

THURSDAY 7

STAGE

Image by The Other Richard

FRIDAY 1 RICE Acclaimed Asian-Australian playwright Michele Lee presents a wickedly humorous observation on gender, globalisation, family and friendship in her award-winning and fast-paced production. Hotshot exec Nisha works for Australia’s largest producer of rice, Chinese migrant Yvette cleans her desk; the two form a powerful bond as they navigate the complexities of their lives. Also on Saturday 2nd April. Northern Stage, Newcastle www.northernstage.co.uk

ART & LIT

TUESDAY 5 ART + SOCIAL NO. 2 Featuring new work from the Blueprint Artist

Film Lab, including poet and musician Dominic Nelson-Ashley, whose film examines his experience as a Black father; Graham Wilkinson explores traditional folklore; Madeleine Smyth’s film looks at the importance of the Tees estuary to local wildlife; Matthew Ward utilises live actors, miniature sets and stop motion animation; and Megan Watson’s film explores post-humanism, nature and technology. MIMA, Middlesbrough www.mima.art

MUSIC

TUESDAY 5 MUSIC

FRIDAY 1 CAROLINE

Having initially evolved their sound from an improvisational perspective, London-based band caroline’s sound brings in elements of folk, emo, post-rock and minimalist classical to coalesce in a highly accomplished dynamic in which the spaces between the music are just as important as the music itself. Gosforth Civic Theatre, Newcastle www.caroline.band

KILLING JOKE Fresh from the release of their Lord of Chaos EP, their first new material in seven years, legendary post-punk band Killing Joke are an uncompromising proposition – even 40 years into their careers. Expect raw, intelligent and wholly righteous anger distilled into apocalyptic rock with a dark energy that has to be seen to be believed. Boiler Shop, Newcastle www.killingjoke.co.uk

DEGREES OF FREEDOM The first collaboration between visual

artists Jill Tate and Matt Denham, Degrees of Freedom reconsiders home, domesticity and labour, looking at the physical spaces we inhabit, how they are affected by our state of mind and how they can fluctuate between comfort and fear, calmness and isolation. Runs until Saturday 23rd April. NewBridge Project, Newcastle www.mattdenham.co.uk/ degrees-of-freedom

ART & LIT

THURSDAY 7 COSMIC DANCER

Not-for-profit gallery space Slugtown finally get some brand new digs this month, as they open their new location designed to provide a platform for early and emerging career artists. Their debut work will be a large sculptural installation by Rosie McGinn and Reuben Kyriakides. Runs until Saturday 7th May. 44 Wretham Place, Shieldfield www.slugtown.co.uk

ART & LIT

FRIDAY 8 RUTH MURRAY

Utilising a technical style and vivid colour palette, contemporary painter Ruth Murray’s work is hyper-realistic and compelling; depicting mostly female subjects in everyday settings, challenging traditional domestic or natural paintings of women, her work crosses boundaries between ‘high’ and ‘low’ culture with enigmatic behaviour and ritualistic symbolism. The Old School Gallery, Alnmouth www.ruthmurray.com

WHATS ON

APRIL HIGHLIGHTS ART & LIT

MUSIC

FRIDAY 15

STAGE

REBEL ROSE LIVE…

Egg Rig by Laleh Khorramian

SATURDAY 9 THE VASSEUR BALTIC ARTISTS’ AWARDS The only international biennial art

award to be judged solely by artists, the Vasseur BALTIC awards offers three ambitious artists a step up in their careers. Ima-Abasi Okon’s installations investigate historical and political charge of materials; Laleh Khorramian’s work concerns ancient cultures; while Fernando GarciaDory’s art explores the relationships between culture and nature. Running until 2nd October. BALTIC, Gateshead www.baltic.art

MUSIC

SATURDAY 9

Local indie label and promotions outfit (and now co-managers of independent venue, The Dirty Habit), Rebel Rose present a trio of top talent including York-based songwriter Harrison Rimmer, whose reflective and high energy rock sound is influenced by the likes of Nirvana, Marvin Gaye and Frank Turner. Support comes from Nicholas Chapman and Jenny Lascelles. The Dirty Habit, Whickham www.rebelroselabel.com

MUSIC

SATURDAY 23 ELEPHANT MEMOIRS

Gateshead rockers Elephant Memoirs have seen their stars in ascendency thanks to their rip-roaring sound and straight-forward attitude; they join a bill which is teeming with alt. rock and punky goodness, featuring Newcastle-based punks Nomad Anthem and the rebellious spirit of Penrith’s Beachmaster. The Central Bar, Gateshead www.facebook.com/elephantmemoirs

COMEDY

NATURE & AI

Part of Generator’s Create:Live project, which has seen an influx of new gig promoters on the region’s music scene, Moonray Pixie’s show focuses on themes around nature and artificial intelligence and how they correspond. Performances come from Me Lost Me, Madeleine Smyth and a DJ set from Venus Grrrls. The Studio, Hartlepool www.facebook.com/moonraypixie

MUSIC

THURSDAY 14 PIT PONY

We love a bit of Pit Pony here at NARC., mainly because of their catchy, fuzzy rock sound which has earned them bags of national radio airplay, a recent signing to Clue Records and some cracking live shows on the horizon. The fact that they’re top notch people too is the icing on the cake. The Ship Isis, Sunderland www.pitponyband.com

TUESDAY 26 MC HAMMERSMITH

Looking for some freestyle rap straight outta middle class white West London? Look no further than MC Hammersmith’s improvised comedy raps, as the revered comic brings the astonishing lyrical feats and beats of his 1 Man 8 Mile show to Newcastle. The Stand, Newcastle www.mchammersmith.com

Image by Cris Waktins

FRIDAY 29

WEEKEND RECOVERY Fresh from the release of their new

EP, No Guts, Leeds-based grungy garage band Weekend Recovery take frontwoman Lori’s experience of sexual assault at a live show as the impetus for a release full of anger and frustration. Utilising a bastion of heavy guitars, meaty drums and shouty vocals, they promise a high octane show. Trillians, Newcastle www.facebook.com/ weekendrecoverymusic

MUSIC

SATURDAY 30 KAYLA PAINTER

Bristol-based musician, producer and visual artist Kayla Painter brings her unique and introspective soundscapes to World Headquarters. The artist’s cutting-edge show will fuse her ever-evolving AV performance with her innate affinity to electronic music, resulting in a creative exploration of sound, field recordings and experimentation. World Headquarters, Newcastle www.kaylapainter.com

MUSIC

SATURDAY 30 ARUN GHOSH

Celebrating International Jazz Day at Newcastle’s best venue for jazzy sounds is a no-brainer, especially when you’ll be treated to a performance from award-winning clarinettist and composer Arun Ghosh, who presents music from his new album Seclused In Light, alongside a special collaboration with Glaswegian alt. guitarist Kapil Seshasayee. The Globe, Newcastle www.arunghosh.bandcamp.com

PREVIEWS

MUSIC

OH WONDER @ NEWCASTLE UNIVERSITY STUDENTS’ UNION

Words: Michael O’Neill Fresh from announcing their upcoming fifth LP, 22 Make (a companion piece to 2021’s surprise release 22 Break), the London-based alt. pop

duo Oh Wonder are setting off on a worldwide jaunt, taking in Newcastle University Students’ Union on Sunday 17th April. Whilst 22 Break chronicled a turbulent period of upheaval and development for Josephine Vander Gucht and Anthony West (that particular collection of songs dealt with the strain the pandemic brought to the duo’s personal relationship), they consider 22 Make to be the inverse; having worked through their tensions, the couple married and set to create a new body of work that they consider to be “full of love and life-affirming songs that reflect on fate, gratitude and being there for someone.”

It’s an MO perfectly encapsulated in the album’s euphoric, heart-on-sleeve lead single Magnificent, which offers a more direct, assertive and optimistic perspective to the anxious, exploratory mode of 22 Break, and is more representative of the euphoric alt. pop that has won them fans in the likes of Billie Eilish and seen them collaborate with the likes of Lil Uzi Vert. Oh Wonder play Newcastle University Students’ Union on Sunday 17th April. www.ohwondermusic.com

PREVIEWS

OCTOBER HIGHLIGHTS

Image by Sam Joyce

MUSIC

EADES @ BOBIK’S

Words: Laura Doyle Eades really deserve the hype surrounding them right now. With the release of their debut record Delusion Spree in the not too distant past, the post-punk five-piece are ready to get on the road in celebration to perform for their ever-growing fanbase, and bring their riotous live show to Newcastle’s Bobik’s on Friday 15th April.

Eades have been hands-on throughout their thus far short lifespan, self-producing their new album in a kitted-out barn in North Yorkshire. Recording as live might simplify some of the production process, but it also means every member of the band has to be at the top of their game to capture their sound at their best. It’s a risky move, but it’s paid off: Eades’ first full-length effort is charmingly crafted; the lazy drawl of recent single Backstreet Politic adds a bit of edge to a classic Britpop sound, while eponymous track Delusion Spree explores modern medicine’s progress in methods of self-medication. It’s

not subtle, proclaiming “like CBD was made for me”, but the honest monologue surrounding mental health management is on brand for this frank-talking outfit. Bonus points for the dreamlike Scarborough-based MV, too, because holiday trips there always feel a little liminal. Chilled out but deeper than it sounds, Eades are sure to pass the vibe check. Support on the night comes from ‘kamikaze’ rock and rollers, Jango Flash. Eades and Jango Flash play Bobik’s, Newcastle on Friday 15th April. www.eadesmusic.com

MAYJULY 2022 LIVE MUSIC COMMUNITY EVENTS CREATIVE LEARNING CLUB NIGHTS VISUAL ARTS POP-UPS

COBALTSTUDIOS.CO.UK

PREVIEWS

Joe Lycett by Matt Crockett

MUSIC

HALF MAN HALF BISCUIT @ GALA THEATRE

Words: Lee Fisher Eleven years ago, Taylor Parkes wrote a fantastic piece for The Quietus trying to set the record straight about Half Man Half Biscuit. They were not, he correctly asserted, a “comedy band”, despite their reputation, but “are, in fact, an antidote to wackiness, a bulwark against zaniness. Fiercely principled, highly literate, sometimes very close to angry…”. By the end of the piece I was almost on my feet saluting Parkes for getting it right when so many people get it so wrong. To be clear, HMHB ARE very funny. But there’s an intelligence, anger and focus to Nigel Blackwell’s lyrics that transcends their oft-quoted daytime TV/b-list indie band gags, accompanied by a scratchy, instantly recognisable guitar sound infused with folk and blues riffs and wonky guitar solos. HMHB

– who’ve been at it for 16 albums and nearly 40 years with hardly anyone noticing – rarely play live but fetch up in Durham on Friday 29th April promoting their new album The Voltarol Years. You should probably go. Just – please – don’t wear any Joy Division Oven Gloves. It’s annoying. Half Man Half Biscuit perform at Gala Theatre, Durham on Friday 29th April. www.hmhb.co.uk

COMEDY

JOE LYCETT @ VARIOUS VENUES

Words: Dawn Storey It’s been ages since Joe Lycett (formerly and briefly known as Hugo Boss) has done a stand-up tour. Of course he’s had his hands full presenting TV shows such as The Great British Sewing Bee, Life Drawing Live and his consumer show Joe Lycett’s Got Your Back, as well as popping up now and again as a stand-in on Radio 2. Naturally, all of these things have been done

in his usual inimitable, hilarious and sometimes controversial style – just like when he recently caused chaos on Twitter after his spoof ‘leak’ of Sue Gray’s government party report was mistaken for the real thing. Similarly, his new live show is based upon a “secret stunt” he says he devised three years ago which became long and complicated and involves “aliases, opening fake companies, drag queens, Strictly, angry MPs” and more. He is “insanely proud” of the end result and promises to tell all at a handful of shows in the North East over the coming couple of months, as long as the audience promise to keep it all secret afterwards. In true Joe Lycett fashion he’ll probably also show some of his weird paintings and shout inappropriate things at strangers, so it’s guaranteed to be an entertaining evening. Joe Lycett performs at Stockton Globe on Friday 29th and Saturday 30th April and Tyne Theatre & Opera House, Newcastle on Friday 6th and Saturday 7th May. He returns to the region for a big show at Newcastle’s Utilita Arena on Wednesday 21st September. www.joelycett.com

PREVIEWS

Image by Steve Tanner

STAGE

SORRY YOU’RE NOT A WINNER @ NORTHERN STAGE

Words: Lizzie Lovejoy Touring company Paines Plough bring their new production, Sorry, You’re Not A Winner, to Newcastle’s Northern Stage from Tuesday

5th- Saturday 9th April. Award-winning playwright Samuel Bailey has developed a powerful story that tackles the world of social mobility and the impact of class-culture. This show challenges the audience to question what is important about life and how we define success in contemporary culture. Following the journeys of Liam and Fletch, two best friends who have taken every step of life together, audiences can watch their growth as people, and the dilemmas that risk to divide them. They’ve had the same start on the same street

and been inseparable since the beginning, but as two people with different approaches to their academic life, they have a seemingly different path ahead of them – one in Oxford and one in trouble. Watch their stories unfold on the stage; lives which reflect the realities of class division and the complexities of aspiring for success. Sorry, You’re Not A Winner is at Northern Stage, Newcastle from Tuesday 5th- Saturday 9th April. www.northernstage.co.uk

SIT-IN #2

To Be l a i t n e t o P ay 19 March – 21 M

2022

Free entr y University of Dundee

Cooper Gallery

PREVIEWS

Grayson Perry, The Agony in the Car Park, 2012, Wool, cotton, acrylic, polyester and silk tapestry, Edition of 6 + 2 AP, 200 x 400cm. © the artist. Gift of the artist and Victoria Miro Gallery with the support of Channel 4 Television, the Art Fund and Sfumato Foundation with additional support from AlixPartners especially loved by us in the North East thanks so many behind, or a rigid obsession with to the tapestries’ origins in Wearside. Perry’s categories within categories to continuously 2012 documentary All In The Best Possible ‘other’ anyone in need. These concepts are Taste featured the artist visiting various regions further explored in a newer piece which joins across the UK to investigate social stratification. Vanity, another tapestry celebrating all efforts to His experiences amongst the working class of undo the country’s endemic prejudices. Sunderland, alongside those of the upper and Comfort Blanket represents any warmth shown middle classes, informed The Vanity of Small to those in crisis, and reminds us that, for all Differences: these vivid tapestries depict a this country’s faults, it’s worth fighting to make modern retelling of William Hogarth’s A Rake’s it the best it can be for those who call or will Progress, an already timeless tale of frivolity come to call Britain home. and excess leading to personal ruin. Grayson Perry: The Vanity of Small Differences Words: Laura Doyle Grayson Perry has long since used his work to is at Sunderland Museum & Winter Gardens Yep – they’re back. Grayson Perry’s seminal unpick Britain’s more uncomfortable aspects, from Saturday 9th April-Saturday 5th June. artwork on class progression has been be it our inescapable class system that leaves www.sunderlandculture.org.uk

ART & LIT

GRAYSON PERRY: THE VANITY OF SMALL DIFFERENCES @ SUNDERLAND MUSEUM & WINTER GARDENS

PREVIEWS

Mounira Al Solh Paper Speakers 2020, hand and machine stitched embroidery. Courtesy the artist and Sfeir-Semler Gallery, Beirut Hamburg

STAGE

THE WHITE CARD @ NORTHERN STAGE

Words: Helen Redfern Can society progress when whiteness remains invisible? Written in 2019 in an increasingly racially divided America, The White Card uncovers uncomfortable truths about white privilege, cultural appropriation and representation that arise when a wealthy, privileged white couple invite a talented Black artist to dinner. Written by American poet, essayist and playwright Claudia Rankine, this one-act play, which runs at Northern Stage from Friday 29th April-Saturday 14th May, explores what happens if one is willing to stay in the room when tensions run high and it’s painful to bear the pressure to listen and the obligation to respond. Having founded the Racial Imaginary Institute in 2017, an interdisciplinary collective established as a think tank for artists and writers who study whiteness and examine race as a construct, Claudia Rankine is well-placed to guide us through this conversation. In this, her first published play, she explores the white spaces of the living room, the art gallery, the theatre, and the imagination itself that engender racial divisions. Be an ally, be in the room, be in the conversation – that’s the invitation extended for the first time to audiences in the UK, as this Northern Stage production is the UK and European premiere of The White Card. Written before the murder of George Floyd and the Black Lives Matter protests that rippled across the globe, The White Card invites us to all to play our part in the debate.

Do you have what it takes to stay in the room? The White Card is at Northern Stage, Newcastle from Friday 29th April-Saturday 14th May. www.northernstage.co.uk

COMEDY

RAUL KOHLI @ THE STAND COMEDY CLUB

Words: Lizzie Lovejoy The Stand Comedy Club has a soft spot for improv…but it also enjoys a bit of pre-planned comedy as well. Raul Kohli presents both disciplines in one gig at the venue on Monday 25th April as he tours his shows The Kohli Bible and Raul Kohli Makes It Up As He Goes Along. The latter is an hour of improvisation that is based entirely on audience interaction. If you’re looking to be so engaged with a show that you are part of it, then this one is for you – be prepared speak up and laugh at yourself in a performance where there is no guarantee on what you will see. Part two, The Kohli Bible, looks at all kinds of belief and how Kohli found God, a performance he planned to share in 2019. Now, in a post pandemic work, he feels even more than belief of many kinds are rational – from Christians, Flat Earthers and conspiracy of every kind, no kind of faith is off limits! Having won considerable acclaim for previous shows Newcastle Brown Male and All My Heroes Are Dead, In Jail Or Touched Up Your Nan, which delve into his unique take on ethnicity, culture and class, this intelligent and humorous ‘two-for-one’ show is not to be missed! Raul Kohli performs at The Stand, Newcastle on Monday 25th April. www.raulkohli.com

ART & LIT

MOUNIRA AL SOLH @ BALTIC

Words: Eugenie Johnson Mounira Al Solh might just be the epitome of what we think of when we hear the term ‘multidisciplinary artist’. Her work spans a huge variety of media, from paintings and work on paper to embroidery, films and performances. It’s an approach that has seen her showcasing her work all across the globe. Her latest exhibition, A Day Is As Long As A Year, showcases both new and recent works and is showing at Gateshead’s BALTIC from Saturday 9th April until Sunday 2nd October. Al Solh uses her multi-faceted craft to explore the impact of war and oppression on people living in the Middle East. In this series of works, Al Solh draws on her personal conversations and experiences with people who have been affected by conflicts in Syria, Lebanon and the wider Middle East. Through this, she explores themes of displacement and uncertainty, with a particular focus on the struggles women in the region face. The works range from intimate sketches and writing on sheets of lined paper, to larger canvases and a parasol installation that doubles as a tent (one of the pieces that show off an occasionally humorous side to this otherwise heart-rending topic). Through the exhibition, Al Solh illuminates the crucial place of oral histories in bringing the stories of the oppressed into focus. Mounira Al Solh: A Day Is As Long As A Year is at BALTIC, Gateshead from Saturday 9th April until Sunday 2nd October. www.mouniraalsolh.com

PREVIEWS

MUSIC

RACHEL SERMANNI @ THE CLUNY

Words: Eugenie Johnson Over the course of the last decade, Scottish folk singer-songwriter Rachel Sermanni has been steadily building up a catalogue of songs that that turn personal experience into compelling narratives. Back in 2019, Sermanni released her third full album, So It Turns, a collection filled with subtle intricacies that examined a vast array of topics, from her time spent in a Buddhist monastery in the Scottish borders to the woes of long-distance relationships and the desire to act in the face of troubling times. After initially being postponed, her show at The Cluny on Tuesday 5th April follows on the back of her 2021 EP, Swallow Me. Chronicling a once-unknown journey into motherhood, it moves from the tender title track, which lovingly retraces the more joyous moments of being pregnant, to contemplating the darker sides of motherhood. While the four tracks on Swallow Me are likely to feature in the live

show, Sermanni’s growing canon means that she has a wealth of material to draw upon that, while never straying too far away from the Celtic-inspired roots, draws upon a wider breadth of musical influences. Likely to be an intimate showcase of her oeuvre, this is a chance to be thoroughly warmed by her comforting charm. Rachel Sermanni performs at The Cluny, Newcastle on Tuesday 5th April. www.rachelsermanni.com

MUSIC

ALEX CAMERON @ NEWCASTLE UNIVERSITY STUDENTS’ UNION

Words: Jake Anderson Australia’s king of satirical songwriting graces Newcastle University Students’ Union with his presence on Wednesday 13th April. Receiving much praise online, Cameron’s newest album, Oxy Music, weaves a fictional story relating to

Rachel Sermanni by Gaelle Beri drug abuse and online behaviour over synth pop and jazz-influenced pop rock. Cameron’s music should be taken as that: stories. On his previous albums Cameron has meticulously crafted storylines revolving around a bitter washed-up musician, found on 2017’s Forced Witness, and a deconstruction of unpleasant politics on 2019’s Miami Memory. This time, Oxy Music places its focus on an egotistical, drug obsessed romantic. K Hole glamorises unhealthy addictions, while the lead single, Sara Jo, breaks down disillusionment and misinformation from the internet. It’s his impressive songwriting that makes Cameron stick out amongst his peers, and why songs such as the hilarious Marlon Brando and the insanely catchy Politics of Love are considered classics of his discography. The soft sounds and humour of Oxy Music makes it one of the best albums of 2022 so far, and an excellent reason not to skip his performance in Newcastle. Previous shows have seen him adopt his personas on stage, although hopefully not to the fullest extent considering the topics of his songs… Alex Cameron plays Newcastle University Students’ Union on Wednesday 13th April. www.alkcm.bandcamp.com

PREVIEWS

Bethany Black, Lucy Porter, Ria Lina

COMEDY

HILARITY BITES THE HIPP @ DARLINGTON HIPPODROME

Words: Michael O’Neill If you’re in the market to be hurled head-first into a barrel full of laughs, you’ll be hard-pressed to find a more splendid and varied setup than the broad offerings during this comedy extravaganza at Darlington

Hippodrome. Across three days, local promoters Hilarity Bites offer a broad array of comedy legends, alongside some fledgling new talent, guaranteeing a diverse and frenetic frenzy of side splitting wonder. Kicking off proceedings on Wednesday 6th April is Radio 4’s Daliso Chaponda, Britain’s Got Talent finalists Nabil Abdulrashid, Danny Posthill and Rob Deering, compered by host Steve Royle (also a previous Britain’s Got Talent finalist). Friday 8th’s line-up is headlined by the pun-tastic Hal Cruttenden, along with Lucy Porter, Ria Lina and Doctor Who actor and comedian Bethany Black, hosted by

Laura Lexx. The festival is rounded off on Saturday 9th, headlined by The Chase’s Paul Sinha, alongside Shooting Stars’ Angelos Epethemiou, local comedian Tom Houghton, Edinburgh Comedy Award-nominated Lauren Pattison and host Hayley Ellis, who joins midway through supporting Sarah Millican on her UK tour. Tickets are a mere £17 per night, but you can save £6 if you book for all three, and with talent like this, why wouldn’t you?! Hilarity Bites The Hipp takes place at Darlington Hippodrome on Wednesday 6th, Friday 8th and Saturday 9th April. www.hilaritybites.co.uk

PREVIEWS

Image by Ozge Cone

MUSIC

JAMES HEATHER @ GOSFORTH CIVIC THEATRE

Words: Jonathan Coll Critically acclaimed pianist James Heather plays Newcastle’s Gosforth Civic Theatre on Friday 29th April, hot on the heels of his forthcoming album Invisible Forces, released a week prior. His latest project is via Ahead of Our

Time, the first record label established by Ninja Tune founders Coldcut. As is typical for much of Ninja Tune’s output, James’ music is a gorgeous fusion of orchestral, ambient and electronic sounds. He lists his inspirations as a curious mix of the likes of Beethoven and listening to his neighbour’s Acid House pirate radio. This musical grounding led to the release of his 2017 debut album Modulations EP:1, which drew support from the likes of Nils Frahm and Flying Lotus’ Brainfeeder. Acclaim also came from artists including Cinematic Orchestra, who invited James to rework their single A Caged

Bird/Imitations of Life for a remix album which landed on Ninja Tune in 2020. Invisible Forces will be James’ first full-length release since his much vaunted debut; described as a uniquely personal collection which shows off his incredible piano playing and adeptness at manipulating sounds, the album takes in big questions around life and death, and the natural world around us. James Heather performs at Gosforth Civic Theatre on Friday 29th April. www.jamesheather.com

PREVIEWS

Swim School by Rory Barnes

MUSIC

STAGE

SWIM SCHOOL @ HEAD OF STEAM/STOCKTON CALLING

HEAD GIRL @ CENTRAL BAR

Words: Hope Lynes ‘swim school, band from Edinburgh’ seem to lowercase near everything on their social media, but there’s nothing lowercase about their sound. Headlining Head of Steam on Thursday 14th April and popping up again at Stockton Calling on Saturday 16th, their gigs in the region provide an opportunity to discover a band that have really nailed their sound; loud, dark, and confident. With a debut EP, Making Sense Of It All, under the belt, tracks such as ‘see red’ are angsty and exactly what post-punk needs. With an upbeat tempo and a thrilling vocalist, the soundscape is addictive and staged perfectly for mosh pits. Also in the mix are dancier tracks, and there’s a flexibility to the songs; their track ‘outside’ flexes between hard backing tracks and preppy guitars with a catchy chorus, creating a fluidity in their understandings of the alt. rock genre. Hilariously, the band describes themselves as “Tesco Value Wolf Alice”, but they are more Tesco Finest, with an exquisite sound FFO the likes of Wolf Alice, but definably swim school in the darkness of their alt. rock soundscapes. Swim School play Head of Steam, Newcastle on Thursday 14th and Stockton Calling on Saturday 16th April. www.facebook.com/weareswimschool

Words: Lizzie Lovejoy All-female theatre company Girl Next Door present their debut show, Head Girl, at Central Bar in Gateshead on Friday 8th and Saturday 9th April. In a world where living ‘your best life’ looks a lot like being over-worked, over-pressured and under-rested, Head Girl shares a coming of age story with some very familiar themes in 21st Century life. Working with the ‘Girl Boss’ mentality and a packed routine of expected self-care and ambition, this production explores how women and non-binary people navigate this very often overwhelming world. The three theatre makers who brought this show to life are Caitlin Fairlamb, Rowan Miller and Rosie Bowden, with Bowden as director saying: “It feels like there is a part of us in this show, it will be a beautiful and bittersweet piece for audiences to enjoy together.” Head Girl is ultimately the story of falling in and out of love with yourself. Although there is a focus on themes of how toxic-aspiration can derail us, this tale is told through a Northern lens, from the people involved in its production, to the venue itself. “We want to nurture a strong cultural identity for Gateshead,” says Bowden. “And be a part of that culture growing.” Head Girl is at Central Bar, Gateshead on Friday 8th and Saturday 9th April. www.instagram.com/girlnextdoortc

MUSIC

THE LOVELY EGGS @ POP RECS LTD.

Words: Laura Doyle The Lovely Eggs are as authentic as could possibly be, unabashed and unapologetic in their self-sufficient approach that eschews formal management. This attitude allows for a full laissez-faire attitude that many in iron-clad contracts could only envy. While such a mentality might sound terrifying to some – after all, there’d be little safety net – their risks have paid off tenfold as The Lovely Eggs have become legends of the independent music scene. The psychedelic duo work best with the most creative freedom possible; since their formation in 2006, The Lovely Eggs have been the recipients of mountains of accolades and frequently graced the top of the indie chart. Latest release I Am Moron had to sit on many a shelf for months waiting for its live debut, but now there is no time to be wasted getting these tracks out to their adoring fans; if you have yet to experience the kaleidoscopic nature of The Lovely Eggs, there’s still time to join the inner circle at their show at Sunderland’s Pop Recs Ltd. on Friday 15th April. Expect madness, reality questioning and light existentialism. Support comes from Welsh trio The Bug Club who recently enjoyed two near sell-out shows in Newcastle thanks to their idiosyncratic brand of fun-filled garage rock. The Lovely Eggs and The Bug Club play Pop Recs Ltd., Sunderland on Friday 15th April. www.thelovelyeggs.co.uk

PREVIEWS

Callum Easter by John Mackie

MUSIC

CALLUM EASTER @ WESTGARTH SOCIAL CLUB/THE ENGINE ROOM

Words: Jake Anderson A common phrase you’ll hear from parents, students and kids soon is “I’m excited for Easter”, and a small minority of them won’t be talking about those glorious four weeks off – they’ll be counting the days towards Callum Easter’s grand return to Middlesbrough’s Westgarth Social Club on Friday 8th and North Shields’ The Engine Room on Saturday 9th April. Easter will be performing as apart of his F*** The S**tem Tour, playing bangers from his 2021 album, System. The album puts politicians on blast, tackling the unpleasantness to our current system, layered onto electronic guitar riffs and alternative yet impulsive instrumentation. It’s an album that feels as if it will burst into anger at any moment, but keeps a level head. Tracks like

What You Think? and the riotous title track are great examples of the passionate and intense tunes that’ll be blasted throughout the night. Support in North Shields is Newcastle’s own Bugman, best known for his decade-long indie punk career. Support for the Middlesbrough show is yet to be confirmed. Callum Easter plays Westgarth Social Club, Middlesbrough on Friday 8th and The Engine Room, North Shields on Saturday 9th April. www.linktr.ee/callumeaster

MUSIC

RIVERSIDE RAGAS: DIVERGENCE @ SAGE GATESHEAD

Words: Mera Royle Stretching the boundaries of the cultural sounds of South Asia is key to the talents of Giuliano Modarelli and Kitha Balakirishnan, who perform as a double bill at Sage Gateshead on Friday 29th April. The two musicians delve deeply into traditional features of South Asian culture to

form their styles. Having performed previously alongside some of the biggest names in Indian classical tradition, Modarelli brings his vast experience and highly skilled guitar playing together in his composition, Lost Ragas, in which he combines his electronic and jazz sensibilities with ancient tradition. The music will uncover the secret history of ragas, merged with his contemporary influences to reshape sound expectations. Meanwhile, Balakirishnan’s violin performance of The Infinite Road offers a musical journey that is not only engaging but enlightening, embracing tradition whilst simultaneously breaking all of its rules. In her words: “I am seeking a mindset in which I am released from the conventional rigid structure and expectation of recital. I want to explore expression and making statement.” Presented by local arts organisation Gem Arts, Riverside Ragas: Divergence is set to provide a spectacular insight into the music of South Asian culture, whilst exploring how it can be incorporated with a bold diversity of ideas to create new and masterful sounds. Riverside Ragas: Divergence takes place at Sage Gateshead on Friday 29th April. www.gemarts.org

PREVIEWS

MUSIC

LAZY HABITS @ THE CLUNY 2

Words: Cameron Wright Nobody really sounds like Lazy Habits. The London-based sextet have been merging alien genres old and new to create three consecutive and indulgently expansive albums over 10 years. With their third instalment, Vermillion

Sands, reaching its final stages just before the pandemic, its time has come to step into the limelight. With a grit and rhythmic drive that is unmistakably homegrown, Lazy Habits set apart their urban London swagger by injecting a myriad of influences into each track. As crunching percussion has clattered across their 2016 release, other cuts feature a drunken, almost debaucherous kinship to New Orleans’ jazz scene. With soul, jazz and industrial tendencies all becoming brushstrokes contributing to an extravagant and unique

painting, Lazy Habits seem ever determined to make something new and challenging. To accompany the upcoming record, the band embark on a headline tour, bringing their brooding basslines and ominous performance to The Cluny 2 on Friday 15th April. With a plethora of new content, there has never been a more obvious time to dive into the world of Lazy Habits. Lazy Habits play The Cluny 2, Newcastle on Friday 15th April. www.lazyhabits.com

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PREVIEWS

Anthony Amoako-Attah, The Umbrella, 2021. Image by Colin Davison

ART & LIT

display at Sunderland Museum & Winter Garden’s art gallery between Saturday 2nd April-Sunday 5th June. www.sunderlandculture.org.uk

TRANSITION IV @ SUNDERLAND MUSEUM MUSIC & WINTER GARDENS KEG @ BASE CAMP Words: Claire Dupree Drawing on his Ghanaian heritage and identity, Sunderland-based contemporary glass artist Anthony Amoako-Attah has produced a new glass artwork – titled Transition IV – for the museum’s collection. Viewing glass as a ‘western material’, his work manipulates glass to make it look like woven fabric, with tremendous and often surprising results. Awed by the way traditional fabric molds and drapes itself around the mental and physical expressions of the weaver and wearer, Anthony’s artworks carry a similarly sinewy movement thanks to his use of Ghanaian cultural Adinkra symbols and native Kente patterns. He explains that his Transition series of works depict the journey of his life; from childhood dreams to the realities of everyday life. His work for Sunderland Museum was also influenced by the museum’s collection, and the artist drew inspiration from the region’s shipbuilding, glass production and pottery making heritage. “Sitting alongside these symbols of Sunderland’s industries are Ghanaian Adinkra symbols that together represent my dual identity.” He explains. “The River Wear flows though the glass work in the same way my identity flows between Ghana and Sunderland.” Transition IV, alongside other works in Anthony Amoako-Attah’s Transition series, will be on

Words: Michael O’Neill The astonishing post-punk melting pot that has been steadily brewing across the globe over the last few years seems to be far from running out of steam, with many musical mavericks finding miraculous common ground in the genre’s love of complex, left-turn heavy, abrasive wonder. KEG are a marvellous addition to the canon. The Brighton-based outfit have been on a steady rise which has seen them support Squid, have their first EP (2021’s Assembly) championed by Steve Lamacq, and witness their debut London show sell out in minutes. Before they get stuck into a busy summer with appearances at End of the Road, The Great Escape and Stag & Dagger, they’re going on a broad EU/UK tour, with an early stop at Boro’s Base Camp on Thursday 28th April. If their five track release is anything to go by, it’s no surprise they’re turning so many heads. It’s a cacophony of atonal fury, bursting with wit, taut rhythms and complex melodies that has drawn comparison to the anything-goes cacophony cooked up by the likes of Pere Ubu and Cabaret Voltaire. It’s clear that 2022 will be a milestone year for the seven-piece. KEG play Base Camp, Middlesbrough on Thursday 28th April. www.kegkegkeg.bandcamp.com

STAGE

OPOLIS @ ALPHABETTI THEATRE

Words: Lizzie Lovejoy Calling all lovers of dystopian sci-fi: Alphabetti has something just for you! Opolis is a new production written and directed by the award-winning Ali Pritchard, opening at Alphabetti Theatre in Newcastle on Tuesday 19th April and running until Saturday 7th May. Ali Pritchard is known for his ability to create dramatic tonal shifts from frank humour into a more serious contemplative experience, and Opolis promises much of the same. This psychological thriller tackles political and emotional themes of idealisation and striving for the concept of perfection. Breaking down the difference between what we really experience, what we share to the world and how we believe we should live, through an allegorical analysis of contemporary life through a sci-fi lens. Following the journey of Julie, set in a bleak time of crisis after tragedy, the complicated world of Opolis is a world run by an algorithm, where existence is bartering and bargaining for many aspects of life; memorable characters navigate this world and make hard choices for what they would sacrifice and how far they would go for that picture perfect life. Opolis is at Alphabetti Theatre, Newcastle from Tuesday 19th April-Saturday 7th May. www.alphabettitheatre.co.uk

PREVIEWS

Image by Elafris Photography

STAGE

YOURS SINCERELY @ GALA DURHAM

Words: Eugenie Johnson In the age of email, text messages and WhatsApp, sending letters has become something of a novelty. When was the last time you sent a letter to someone you know? That’s not a problem for writer and performer Will Jackson in his latest show; in Yours Sincerely,

which comes to Gala Theatre in Durham on Friday 8th April, he has a specific reason for wishing to send more than a few hand-written correspondences. He’s managed to accidentally steal 300 second class stamps from the post office. How does that happen? Well, finding that out is just one reason why you’ll want to catch Quick Duck Theatre’s hit show. Beyond the mix up is a funny and heart-wrenching queer coming of age tale based on real-life correspondence, combining comedy, storytelling and lip sync cabaret into a singular package about the

pitfalls of modern communication. As Jackson starts using his unusual haul to reconnect with old friends and ex-boyfriends (as well as get into a tussle with the marketing department at John Lewis), he also puts the spotlight on a lost art. Emerging from a time when social distancing and isolation has strained our social lives, Yours Sincerely shines a light on the importance of human connection. Yours Sincerely is at Gala Durham on Friday 8th April. www.facebook.com/quickducktheatre

PREVIEWS

The Young’uns by Kate Griffin

MUSIC

THE YOUNG’UNS @ THE FIRE STATION

Words: Maria Winter On Saturday 16th April three-time winners of the prestigious BBC Folk Awards, The Young’uns, will perform at The Fire Station, Sunderland, providing a night of exquisite musicality and powerful emotion. Recognised for their passionate and often humorous interpretations of traditional folk songs as well as their hard-hitting social narrative, The Young’uns are now one of the most in demand groups on the UK folk and acoustic scene. The Teesside trio are comprised of Michael Hughes, Sean Cooney and David Eagle (who is also an award-winning stand-up comedian). The musicians are able to capture an audience’s attention through gripping storylines constructed from both historical events – such as their musical account of the life of anti-fascist rebel leader Johnny Longstaff; a story which they adapted for the stage to high critical praise – or through themes highly topical of today, like their 2017 album Strangers, which celebrates inspiring people

and pays homage to the outsiders of society. Whether it’s shanties, tales of 1950s immigrants or Stockton residents’ reactions to a Benefits Street film crew, the trio’s undoubted talent will ensure a joyous evening of live music. The Young’uns play The Fire Station, Sunderland on Saturday 16th April. www.theyounguns.co.uk

MUSIC

BENEFITS @ WESTGARTH SOCIAL CLUB

Words: Ali Welford Given how this young decade is unfolding, is it really any wonder the North East’s hottest breakout sound has been the caustic, searing assault of Benefits? A withering commentary on a floundering nation, the Teessiders’ melange of blistering electronic noise, primal industrial beats and furious political diatribe has proved impossible to ignore, lashing out against the inequality and discrimination before our eyes, normalised through toxic, post-truth

bullshit masquerading as mainstream discourse. With discontent rife, rumblings of this seething project have spread far beyond our regional borders. Spiritual forefathers Sleaford Mods were early advocates, and glowing national coverage followed soon after, yet this too proved the tip of an iceberg, with formidable singles Traitors, Flag and Empire finding admiring ears in Black Francis, Steve Albini and even one Elijah Wood. Frodo Baggins himself – Hobbit; ring-bearer; harsh noise connoisseur. Having ballooned over lockdown, the question remained of how Benefits’ punishing custom would translate to the live stage. Though still a work in progress, February’s rapturously received debut tour offered a tantalising taste, confronting listeners with a formidable show of immersive, throat-ripping intensity. After affording Kingsley Hall’s voice some much needed respite, Benefits return to the road this month for a second round – including an essential date at Middlesbrough’s Westgarth Social Club on Saturday 23rd April. Bring earplugs. Don’t bring your Tory-voting relatives. Benefits play Westgarth Social Club, Middlesbrough on Saturday 23rd April. www.benefitstheband.bandcamp.com

PREVIEWS

Cattle & Cane by Ally McErlaine

MUSIC

ART & LIT

CATTLE & CANE @ THE 36000 SEXES OF FUNGI @ ESTON ARTS GEORGIAN THEATRE CENTRE Words: Dawn Storey Cattle & Cane’s most recent visit to Stockton was to play at the brand-new Globe venue back in December. This time around they return to their old favourite The Georgian Theatre for a special and stripped-back show on Saturday 9th April comprising solely of siblings Joe and Helen Hammill and a guitar – exactly the way the band first began. Forever gaining fans, the hard-working folk pop duo are increasingly used to playing sell-out performances with their band, and have notched up over 16 million Spotify streams and gained support from numerous radio presenters at the likes of Amazing Radio and the BBC. They even sneaked onto the soundtrack of the Christmas episode of the wonderful Gone Fishing with fellow local lad Bob Mortimer – a proud moment indeed. Their last album, Navigator, received excellent reviews, with single Mexico being played on BBC Radio 2 by Dermot O’Leary. As well as all the old favourites they promise to play some as-yet-unheard and unreleased songs to give fans a taster of their new album, due to be finished sometime later this year. While their full band gigs are undoubtedly fantastic, there’s bound to be something even more magical about this intimate, acoustic show from the Teesside twosome back on their home turf. Cattle & Cane play The Georgian Theatre, Stockton on Saturday 9th April. www.cattleandcane.co.uk

Words: Claire Dupree Continuing to expand her experimental CV, Natalie Sharp (fka Lone Taxidermist) embarks on her first solo exhibition this month at Middlesbrough’s Eston Arts Centre. 36000 Sexes of Fungi asks questions around how we can gain enlightenment through our natural environment, and continues the artist’s ongoing journey into the physiological symbiosis with ecology, taking in a variety of mediums. Speaking about her practice Natalie Sharp said: “I am an octopus artist. I have many tendrils that curiously spread wide and infinitely, therefore the piece will be made up of many forms including: AV, video, sound, costume, performance and sculpture. My specialist interests are: Spume, Oceans, Mycelium and Ecosex!” Natalie Sharp’s work has received rightful acclaim thanks to her willingness to create open-minded and thought provoking pieces, musical or otherwise. She enjoys challenging existing frameworks, exploring themes around sexuality, gender, pain and the body, and encouraging her audience to meet her in non-conventional settings, confronting them to become non-passive consumers. Natalie Sharp presents 36000 Sexes of Fungi at Eston Arts Centre from Saturday 16th April-Thursday 15th May. www.facebook.com/natsharplonetaxidermist

COMEDY

TWO SHOWS FOR A TENNER @ LAUREL’S

Words: Cameron Wright Felt Nowt have swiftly become a North East institution, peddling an ever impressive cycle of comedy throughout the area and ensuring an array of exciting, unique and hilarious nights, each blessed by upcoming and promising talents. The latest Felt Nowt event to arrive at Laurel’s in Whitley Bay is an affable and affordable night out, as punters are treated to not just one show, but two – the succinctly titled Two Shows For A Tenner promises exactly that. April’s event takes place on Sunday 24th and features sets from Neil Harris and Joby Mageean. In preparation for his Edinburgh Fringe show A Short History Of The Highjump, Neil Harris brings an abridged version to the stage, dissecting the history of the sport and analysing the various complications and anecdotes he found in his copious research on the subject. Having written for Netflix, BBC and Channel 4, Newcastle comedian Joby Mageean delivers his newest set, Pigman. Catch a flavour of his rip-roaring style on BBC Three’s Laugh Lessons, where the upcoming Northern talent discusses everything from drugs to bananas and Gary Barlow. For a night to remember that will hurt your sides but not your wallet, look no further! Felt Nowt present Two Shows For A Tenner: Neil Harris and Joby Mageean at Laurel’s, Whitley Bay on Sunday 24th April. www.feltnowt.co.uk

PREVIEWS

figuring it out and fitting in; what makes you, you?

YMCA Northumberland, Ashington 9th April, 7pm

Gosforth Civic Theatre

13 April, 7pm

(This performance is BSL interpreted)

Flux is a contemporary, dynamic and poignant piece of theatre; fourteen unique young voices, come together on stage, to explore what it means to question your identity in a world that feels determined to put you in a box.

£6 adults £4 under 25s & concessions For more information & tickets: mortalfools.org.uk/flux

PREVIEWS

Ellen Trevaskiss in The Hunger

STAGE

THE HUNGER @ LAUREL’S

Words: Jamie Lunnon Coming to Laurel’s in Whitley Bay on Monday 11th April, Madeleine Farnhill’s The Hunger offers a chilling exposition of what her and Helen Denning’s Black Bright Theatre is all about. A Yorkshire motto meaning ‘very dirty’, Black Bright is a fitting title for a company whose drama explores the grittier, darker corners of the human experience. However, like the paradox of ‘Black Bright’, this darkness is used to enlighten in The Hunger. Difficult questions are asked, and shocking realities dramatised, but all with a wider vision to force viewers to listen more attentively and reflect more deeply. Their vision is to bring “complex female characters to the forefront” where rather than acting as “plot devices for the male leads”, they can exist in their own right. Their project retains a theatrical independence too, refusing pigeon-holing and melting genres together. Described as a kitchen-sink drama meets post-apocalyptic horror, The Hunger captures a mother-daughter relationship played out in a remote farm in the Yorkshire Dales. The

daughter differs from the “strong, no-nonsense, pragmatic and Northern” mother and their relationship fractures with the appearance of a young boy. The Hunger promises to drive straight into the very marrow of the human, and more specifically, female condition, dancing on the intersection of feminism, environmentalism and post-apocalypticism. The Yorkshire Dales, with their expansive beauty matched with a dramatic emptiness, are the perfect setting for a post-apocalyptic drama of intimate connection, isolation and horror. The themes of plague also raise environmental concerns about humankind’s invasive relationship with animals. The Hunger will be bold, unusual and shocking but, in brilliantly intense and absolutely unmissable. The Hunger is performed at Laurel’s, Whitley Bay on Monday 11th April. www.blackbrighttheatre.co.uk

MUSIC

YUCATAN @ BASE CAMP Words: Jake Anderson Yucatan are playing Base Camp in

Middlesbrough on Friday 15th April, and be advised when trying to purchase tickets, as the first thing that comes up when you google ‘Yucatan Base Camp’ is actually a restaurant at Tokyo Disney Sea. It left me a little confused, to say the least… Luckily, seeing this legendary Welsh post-rock band won’t be quite as expensive as a trip to Japan. The elusive band’s last album was released in 2015; titled Uwch Gopa’r Mynydd, it’s an enchanting album which meanders with its listener, resonating with those active in their sonic adventure. Flooded by melancholic vocals, and magical instrumentation that washes over you, it’s a release that stays with you long after the last track. Supporting them on the night are Middlesbrough-based five-piece ensemble Silver Trees, whose sonic environment is pitched somewhere between heavy electro-infused post-rock and easy-going psych-induced stoner rock. They’ll be the perfect noise makers to set up Yucatan for a night of excellently made and wistful tunes that’ll tug at the heartstrings. Yucatan and Silver Trees play Base Camp, Middlesbrough on Friday 15th April. www.facebook.com/yucatanambyth

PREVIEWS

Gwenifer Raymond by Jinnwoo

MUSIC

GWENIFER RAYMOND @ THE CUMBERLAND ARMS

Words: Michael O’Neill Almighty promoters Wandering Oak return with an all-killer line-up headlined by the left-field Americana artist Gwenifer Raymond at The Cumberland Arms in Newcastle on Friday 22nd April. Kicking off proceedings is local artist and composer SL Walkinshaw, who utilises found sound, tape recordings and electronics to create haunting and hypnotic works of sonic wonder. Recent debut LP Tape/String has bagged plaudits from the likes of Electronic Sound Magazine. Additional support comes from Anglo-American folk duo Cath & Phil Tyler, whose shared love of traditional narrative song and folk stylings fuses to create a highly concentrated and intimate musical experience that succeeds in embodying the very rawest essence of folk tradition. Headliner Gwenifer Raymond’s musical career began as a guitarist for various punk outfits in the Welsh valleys, before the discovery of Appalachian folk and pre-war blues awakened a passion for the guitar players of the American Primitive genre, as evidenced in the gloriously unique stylings present on 2020’s Strange Lights Over Garth Mountain. The resulting concoction of unique sound has been equally embraced by devout disciples of folk tradition and ardent lovers of left-field out-there-ery, with Gwenifer’s undeniable guitar skills and esoteric outlook making for a delightfully singular combination. Gwenifer Raymond, Cath & Phil Tyler and SL

Walkinshaw play The Cumberland Arms, Newcastle on Friday 22nd April. www.gweniferraymond.com

ART & LIT

PROMISES FROM PARADISE @ NEWBRIDGE PROJECT

Words: Claire Dupree Shieldfield’s NewBridge Project welcomes a new exhibition which investigates the role of community healers and our increasingly discussed search for ‘wellbeing’. Taking place from Friday 1st April until Friday 25th June, Promises From Paradise has been curated by Beatriz Lobo and features textiles, ceramics, sound and performance from contributors Rebeca Romero and Igor Tavares. To investigate the exhibition’s subject matter, the artists collaborated on research to explore themes of ancestral knowledge, cultural identity and belonging, looking at how communities build around healers in the Global South, while also debating the challenges associated with the search for wellbeing. The exhibition continues to build on the gallery’s five-year framework proposed for their Blazing New Worlds project; asking questions around practices of care and what that may look like in the future, the exhibition delves into the healing potential of everyday ritual, touching on technology, the human quest for spiritual experiences and creating connections with ourselves and the wider world. Promises From Paradise is exhibited at NewBridge Project, Newcastle from Friday 1st April until Friday 25th June. www.newbridgeproject.com

MUSIC

SEAN NOONAN & LIGETI QUARTET: BARTALK @ THE GLOBE

Words: Laura Doyle Artists are rarely one thing any more, as many seek to break free of the confines of a single medium to express their creativity. While in some cases this might be as simple as dabbling in watercolours and sculpture, Sean Noonan is a lot more fusionistic with his art form. In the most basic of terms, he is a drummer – but such a reductive term ignores the swathes of skill and knowledge he brings to any table. His true range is revealed in his work, the latest of which aims to raise awareness of the inhumanity surrounding the long since controversial topic of solitary confinement. Known as a punishment inflicted on misbehaving prisoners, the psychological stresses of the phenomenon are enough to take even the strongest minds to breaking point. Performed at Newcastle’s Globe on Sunday 10th April, Bartalk encapsulates Noonan’s interest in the topic which has recently been exacerbated by the events of the ongoing pandemic. As millions were forced into essentially solitary confinement, the mental health of the nation suffered. Through his rhythmic storytelling and with the help of the Ligeti Quartet, this percussive classical monodramatic collaboration tells the story of those isolated by necessity for the sake of global health. Sean Noonan and Ligeti Quartet present Bartalk at The Globe, Newcastle on Sunday 10th April. www.seannoonanmusic.com

What If by Two Destination Language

STAGE

GIFT FESTIVAL @ VARIOUS VENUES

Words: Claire Dupree Always a highlight on the theatrical calendar, this year’s Gateshead International Festival of Theatre present a three-day programme of performance, discussions and workshops, taking place both in person at locations across the town, and online. With the aim of “prioritising care and catalysing conversation”, GIFT will celebrate connection, creativity and collaboration. Chief among the highlights will be Hello Neighbours, a workshop

taking place in Chopwell Woods hosted by Canadian artist duo Mia & Eric, who have previously worked with the festival on a remote ‘off-site’ residency, connecting the artists from their home in Calgary to those based in Gateshead (Friday 29th April). Presenting their award-winning performance piece, Bertrand Lesca and Nasi Voutsas will dance the end of their relationship, imagining what their future will look like without each other, with an accompanying strand of narrative also looking at the ongoing ecological crisis (BALTIC and online, Friday 29th April). Also of note, Olivia Furber and Ramzi Maqdisi present their acclaimed guided audio tour The Lands’ Heart Is Greater Than Its Map, an emotional investigation into who has the right to claim the

history of places and objects (Friday 29th April-Sunday 1st May); and on a similar tip, The Acquisitions Panel is an interactive performance by immersive theatre makers Fast Familiar, exploring the legacy of colonialism (Shipley Art Gallery, Saturday 30th April). On the final day at BALTIC (and online), award-winning duo Two Destination Language, alongside a host of local artists, host What If?, a party by and for optimists! With much more going on besides, check out the festival’s website for full listings. GIFT Festival takes place at various venues from Friday 29th April-Sunday 1st May. www.giftfestival.co.uk

THE COLLECTIVE

Thursday 5 May, 7:30pm £9.50 | £8

dancecity.co.uk | 0191 261 0505

PREVIEWS

Amelia Coburn by Howy White

MUSIC

AMELIA COBURN RELEASES NEW EP, THE EBB AND THE FLOW Words: Claire Dupree It’s always a delicious surprise when an artist become famous for one thing but then absolutely blows all expectations away by producing something completely different. Teesside ukulele maestro Amelia Coburn has blossomed into a fully fledged folk star; BBC Radio 2 think so too, as they tipped her as one of their Young Folk Award nominees, and she’s performed “show-stealing” gigs across the UK. Her EP of brand new material, The Ebb And The Flow, is released this month, and sees the beguiling songwriter muse on themes of ageing, family and mortality amid forceful strummed acoustic guitar, meandering piano and her transporting voice. Amelia’s songwriting comes into its own on the four tracks as she spins yarns peppered with beautiful imagery. The heart-wrenching Please Go Gently was written during her grandfather’s period of failing health and subsequent death; despite the subject matter it remains a beautiful paean to a loved one rather than a mawkish tribute, thanks to a baritone ukulele and lush piano lines courtesy of Harriet JM

Bradshaw, who also performs sublime cello interludes on Sandra, which tells a true story of an elderly lady Amelia lived with in Paris who had revenge on her abusive husband by cremating him against his dying wishes. Elsewhere, Oh Captain! Guide Me Home is a toe-tapping shanty and tribute to those who help you navigate life’s journey. Amelia will showcase the EP at Eaglescliffe’s The Waiting Room on Sunday 3rd April. Amelia Coburn releases The Ebb And The Flow on 1st April via Shoebox Records. She performs at The Waiting Room, Eaglescliffe on Sunday 3rd and The Link at Stockton Calling on Saturday 16th April. www.ameliacoburn.co.uk

ART & LIT

BEE LINES THROUGH THE CITY @ SHIELDFIELD ART WORKS

Words: Mera Royle With the world looking like such a scary place at the moment, it’s affirming to see how communities in our local areas are responding with positive action. Newcastle’s own Shieldfield Art Works (SAW) is taking on the

danger of ecological disaster with their latest project, Bee Lines Through The City, to celebrate the importance of bees in our ecosystems. These small creatures have faced huge threats in recent years, from use of agrichemicals, loss of habitat and climate change. From Friday 1st April until Friday 25th June, SAW hosts an array of bee-focused activities and artworks to highlight how we ourselves face challenges as a result of bee depletion, including Symphony In C, a contemporary dance commission which uses music by Chris Garrard, Rupert Embleton-Smith and Wildwood Kin, with dance by Francesca Willow, is inspired by the vibrations bumblebees make to unlock pollen from plants. The project is filled with creative opportunities for attendees to get involved too, including creating fabric dyes from local plants, making seed paper honeycomb and venturing out on pollinator corridor walks. Filled with arts, dance, music and crafts, this latest exhibition from SAW will bring us together in an exploration into how collective care for the natural world and communal action is our greatest defence in the fight against climate change. Bee Lines Through The City takes place at Shieldfield Art Works from Friday 1st April until Friday 25th June. www.saw-newcastle.org

INTERVIEW

COMPILATION DOWNLOAD HERE

CELEBRATING OUR 16TH BIRTHDAY, THIS YEAR’S COMPILATION FEATURES AN ABUNDANCE OF NORTH EAST TALENT. DOWNLOAD FOR FREE AT NARCMAGAZINE.BANDCAMP.COM WORDS: LAURA DOYLE / JAMIE LUNNON / CHRIS MALTBY / STEVE SPITHRAY / ADELLE SUTHERAN / LUKE WALLER

Image by Victoria Wai

BECCY OWEN – BURIED GIFTS

FAYE FANTARROW – NOUGHTIES

Buried Gifts is wistful and gentle piano sonata combined with poetic sentiments from this littérateur. Uncomplicated and hauntingly pure, it’s a truly delightful track “about emerging from isolation as well as how ritual and community help us through the tough times”, as the artist explains. (AS) www.beccyowen.bandcamp.com

If Noughties was written as a bit of fun to trivialise the bad press Gen Zs get, then Sunderland’s Faye Fantarrow hits the nail on the socially aware head. “I wanted Noughties to be a completely fun track; I also wanted all the nostalgic cliches and ironies of Gen Z to be acknowledged and celebrated.” Faye comments. The result is an eminently danceable romp through young adulthood, delightfully embellished with brass and soulful zing. (SS) www.facebook.com/fayefantarrowmusic

INTERVIEW

GEORGIA MAY – GUESSIN’

JOE RAMSEY – ANOTHER DAY

Local soulful singer-songwriter Georgia May gifts us with Guessin’, one of the dancier numbers from her album Mood Daze. She explains that the track “encapsulates a very painful experience of cutting ties of a relationship and friendship without closure.” Georgia May seems to pour a piece of herself in to everything she does, and this track is no exception. (CM) www.georgiamay.uk

“Another Day is about enjoying the simple things in life. Lockdown gave me a creative freedom which I had never had before.” Another Day by Joe Ramsey is, indeed, a joyous celebration of cups of tea, having nowhere to go and nothing to do, all sprinkled with jangly guitar and piano. As Joe says. “I have chosen Another Day as it is by far the happiest song I’ve ever written.” Amen to that. (SS) www.facebook.com/joeramseymusic

HOLLY REES – ENGLISH BAY

Image by Keavey Gamwell

Lyrically frisky, using observational descriptions for matters of the heart and attraction, English Bay exhibits elements that parallel the likes of Courtney Barnet and Lucy Dacius, which is no bad thing at all. “One of the things I like playing with in my writing is looking at contradictions,” Holly says. Clever, current and catchy. (AS) www.hollyrees.co.uk

KATE BOND - THINKING OF YOU Chilled-out, laid-back and founded on hypnotisingly groovy bass, illuminated by delicate piano chords, neo-soul singer Kate Bond makes a move towards tranquillity. “The track shows a more vulnerable side to my songwriting and I think is relatable for everyone,” says Kate. Maintaining her palette of daily life-inspired wit, this is perhaps Kate’s most advanced release yet. (LW) www.facebook.com/katebondmusic

JACK FOX – TIMES & PLACES

MARKETPLACE – CONDENSED MILK

Times & Places is a tongue in cheek assault on the senses (think Kendrick’s Backstreet Freestyle but for the North East coastline). Bursting with subversively witty lyricism and brimming with personality, Jack Fox is staking his claim as a versatile rapper. “It’s witty and aggressive, with lyrics that are tongue in cheek but still have a strong hip-hop presence.” Jack says. (CM) www.facebook.com/jackfox22

There is something about the reverb laden chiming guitars on Marketplace’s Condensed Milk that will forever do delightful things to my brain and that is even before singer Evie’s joyful ultra-pop vocals come in juxtaposing the more serious lyrical content of the track, as the band themselves were happy to concur. “Lyrically, it’s mainly about the feeling of being home sick and not being in the best head space somewhere new and unfamiliar to you.” (SS) www.facebook.com/marketplaceband

INTERVIEW

Image by James Grant

MOTEL CARNATION – SWEET SEPARATION

NOYOU – DRIVING YOU CRAZY

Motel Carnation’s Sweet Separation is funky, danceable indie with an irresistible lyrical flow which marks it out as worthy of all genres in equal measure. “Musically it’s kind of a smorgasbord of influences – Foals, Jungle and Royal Blood, but a generous sprinkling of our own DNA throughout. The phrase ‘Sweet Separation’ came early on and themes of relief, regret and relapse started to arise.” (SS) www.facebook.com/motelcarnation

Sunderland synth-pop sensation noyou’s Driving You Crazy explores the “‘can’t live with them, can’t live without them’ scenario we sometimes find in relationships: the push and pull, to and fro that can sometimes make or break our understanding of each other.” These frustrations are expressed through a borderline joyous indie fuzz soundtrack ideal for anyone suffering from Main Character Syndrome as they go through a relationship’s rough patch. (LD) www.facebook.com/noyoumsc

MOTHERLAND – BACK TO YOU

VIIA – FALLING

Back To You makes steps towards unpacking the trauma of the pandemic by typifying the whirlwind of emotions during this era of uncertainty. “Capturing the lament and hardships of trying to keep a relationship together surrounded by a world that’s in disarray, and how impactful the loss of that love during these times would be. It has a positive message of getting back to those you love the most.” It’s passionate, straight-talking and buttery smooth: all things to look for in a good alt. rock track. (LD) www.facebook.com/motherlandneuk

The story of Viia’s Falling starts with a guy who didn’t know what he wanted, who rejected the singer’s advances in exchange for friendship. “We used a text message that he sent me at the start of the song and turned heartbreak into a dark pop anthem. It was the first song that really gave me my sound.” The result is a modern power ballad for fans of Adele and Florence & The Machine where a pounding piano riff is stacked on some rolling thunder BVs creating the sort of heavy soul foundation upon which Viia builds an imperial vocal. (SS) www.facebook.com/viiamusicofficial

Image by Jessie Rose

NE-O – SEVENTEEN

WAVES OF DREAD – STARS

Newcastle’s rising star of rap, NE-O takes a look back on his last five years, a crusade for a better life for himself and his family. “This track always makes me feel proud because it was my first real single after receiving the MOBO funding, and one of my first releases where I really felt comfortable and confident that it was going to succeed,” he says of his Latin-infused grime number. Gripping from the outset, youthful but mature, in Seventeen NE-O tells the tale of how he’s climbed his ladder. (LW) www.facebook.com/neo.dons

The listening experience on the shoegaze rockers’ track is intoxicating, with the regular drumming of Steven Gordon surging through the tidal instrumental flow and the molten vocals of Nick JH, mulled in a heavy reverb. It is playful and flirty too, as Nick claims: “it’s just a daft love song about drinking red wine on the beach at night.” The atmosphere of wine-drenched serenity is well captured, with the controlled, throbbing build and the strange sense of weighty motion beckoning the summer. (JL) www.facebook.com/wavesofdread

FEATURE

L-R, T-B: bigfatbig, HYYTS, Dylan Cartlidge, Venus Grrrls by Milly Hewitt

STOCKTON CALLING 2022 FESTIVAL SEASON HAS ARRIVED! CLAIRE DUPREE CHECKS OUT THE OFFERING FROM STOCKTON’S ORIGINAL MULTIVENUE FESTIVAL Taking place across eleven venues throughout Stockton on Saturday 16th April, over 80 bands and artists representing all manner of genres will fill the town with glorious sounds in what promises to be a joyous celebration of live music. Chief among the cache of superb bookings this year is a headline set from experimental pop artist, Self Esteem. Capable of veering between cutting, propulsive wit and expressive, poppy delights, all wrapped up in iconic feminist bangers, Rebecca Lucy Taylor has cemented her status as a bona fide star. If you want to see her headline set at The Georgian Theatre, I’d start queuing now if I were you. Also at the Georgian, expect glam gothic pop courtesy of Glaswegian rabble-rousers Walt Disco; indie rock lushness from English Teacher; heartfelt and soulful rap from Luke Royalty; sparkling indie joy from Hartlepool’s Marketplace; Mr Matthew Fisher demonstrates his lyrical pop rock; Newcastle’s Pave The Jungle offer up their effortlessly cool fuzzy rock sound; and The Shakin’ Nightmares bring some garage rock ‘n’ roll to kick off the day in style. Next door at The Green Room, the NARC. stage features some of the most exciting artists in the North East right now. Headliners are this month’s cover stars Komparrison, whose intelligent and infectious poppy rock tells relatable tales of being a young woman in the 21st Century. Also at The Green Room are bouncy pop

punks bigfatbig; mysterious and intense garage rock act Wax Heart Sodality; Newcastle’s melodic rockers Pit Pony; MXYM adds a touch of glamour with a fusion of emo, rock, punk, pop and everything in between; Mouses frontman stebee ratchets up the social discourse with his acoustic punk tunes; while opener Sarah Johnsone’s full band show demonstrates her astonishing vocal talent and canny songwriting knack. Things get rowdy over at ARC, as indie party starters The Pigeon Detectives bring their catchy and anthemic hits to their headline slot. Also performing will be stylish R&B multi-instrumentalist Brooke Coombe; dreamy Scottish rock ‘n’ rollers Shambolics; highly regarded local songwriter Jodie Nicholson; thoughtful pop rock artist Joe Ramsey and the beautiful and highly lyrical pastoral folk of Nel Unlit. On the ARC 2 stage, Glasgow-based duo HYYTS bring tongue-in-cheek lyrics and delicious retro synth pop to their headline slot for super-promoters The Kids Are Solid Gold. There’s also vibrant guitar-led anthems courtesy of Retro Video Club; hazy indie from Swim School; the psychedelic pop of moa moa; lo-fi songwriter Frankie Beetlestone; indie pop band Moy; socially-aware lyricist Cara Rose and local indie folk popsters Mt. Misery. Over the road at KU, there’s an opportunity to revel in the

FEATURE

MUSIC

L-R, T-B: The Let Go, Loose Articles Self Esteem by Olivia Richardson, MXYM

soundtrack of the disenfranchised, as South Yorkshire four-piece The Reytons present a headline set of energetic indie rock. Also leading the indie charge are The Skinner Brothers; the celebratory and euphoric sounds of Courting; festival-friendly Scousers Stone; psych hip-hop fusion act CVC; politically-minded TikTok favourite Seb Lowe; Hartlepool’s soulful singer Michael Gallagher; alt. rock guitarist Samantha Durnan and indie psych duo Shore. The Social Room is a brand new venue in the KU family, and where you’ll find Darlington’s Tracks/Noisy Daughters curating a stage of cracking female talent, spearheaded by the melodic punch of headliners The Mysterines. There’s also ‘songs for mad people’ from political punks Loose Articles; bedroom popsters The Let Go; North Yorkshire punks Duck; scuzz-fueled locals Ocean Floor; hotly-tipped folk pop songwriter Faye Fantarrow and melodic soundscape creator Madeleine Smyth. New venue Sticky’s are blessed with what promises to be one of the festival’s stand-out performances. Artists on the cutting-edge of politically-charged commentary, Bob Vylan’s explosive sound is typified by their call to arms tracks which effortlessly merge rap, grime and hardcore. Plus, local lad done good Dylan Cartlidge brings his retro hip-hop sound; electro-noir brat-popsters ZELA will turn in what’s bound to be a thrilling performance; expect big choruses from Stockton rockers We Tibetans; there’s guaranteed funky sounds thanks to Teesside’s Moon Wax; Newcastle songwriter Heidi Curtis has personality and vocal chops in spades; garage rock quartet Onlooker will deliver a blistering set, and riff monsters Ten Eighty Trees start the day with panache. ‘Round the corner at The Storytellers, promoters This Feeling bring Liverpudlian quartet RATS and their catchy ‘indie dub’ sounds to the headline slot. Also performing will be soulful indie rockers Casino; enigmatic rockers The Shakes; the blistering beats of Rolla; Brit-poppers Coco And The Lost; punchy spoken word punks Headshrinkers; there’s plucky and whimsical tunes from The Facades and opera-trained indie rock from Megan Wyn.

Over at Globe Stockton’s little sister venue The Link, BBC Music Introducing on Radio Tees curate a line-up which includes lo-fi bedroom pop ‘noodler’ Trunky Juno taking the top spot, with additional sets from R&B fusion artist Chloe Castro; slacker pop songwriter James Leonard Hewitson; the soulful alt. pop vibes of Nadedja; young Stockton-based songwriter Sisi; and cheerful folk artist Amelia Coburn. Local promoters Famous Last Words curate the stage at Vault Hidden Bar, with Sunderland indie rockers Plastic Glass leading the way with their likeable charm and fun, catchy tunes. Highly regarded County Durham four-piece The Thieves also perform, alongside indie popsters Police Car Collective; intense songwriter Josh Vine; dynamic star in the making Tom A Smith; art rock band Youth Sector; creative post-punks Pizza Crunch; slick singer-songwriter Elizabeth Liddle and the folky piano-based songs of Lottie Willis. Another new venue for 2022, NE Volume Music Bar sees Leeds-via-Hartlepool’s Venus Grrrls headline. With influences ranging from Garbage to Wolf Alice, expect songs touching on feminism and mental health, all wrapped up in angsty yet cool vocals and catchy tunes galore. Also performing will be melodic rock band Motherland; local troubadour Finn Forster; rootsy Americana artist Callum Spencer; the contemporary, minimal sounds of Lees; fast-rising Middlesbrough rapper Shakk; melodic rockers Church, Honey; superb songwriter and multiinstrumentalist Patrick Jordan and retro funk trio Pattern Pusher. Coming at a time when musicians are raring to get back on the road and audiences are desperate to experience the thrill of a live show, Stockton Calling will represent a rightful return to form for our region’s bustling festival calendar. Don’t miss out. Stockton Calling takes place at various venues in Stockton on Saturday 16th April. Tickets, priced £31 including booking fees, are available from Dice. www.stocktoncalling.co.uk

COVER FEATURE

KOMPARRISON

EVIE LAKE TALKS TO THE NORTH EAST FIVE-PIECE ABOUT EMBRACING THEIR LOUD, PROUD, NORTHERN IDENTITIES AND KICKING AGAINST EXPECTATIONS ON THEIR DEBUT EP IMAGE BY AMELIA READ Komparrison seek to represent the experiences of Northern women. What started out as a two-piece using their music as therapy has developed into a quintet of high energy, poppy indie that seeks to relate and rile you up. Made up of Elise Harrison, Kaitlyn Kempen, Jessica Chilton, Ellie Neill and Elliot Smith, I spoke to them just after their soundcheck outside Newcastle’s Head of Steam, amidst the crowds of people kick-starting their Saturday nights. “When we first started writing songs they were more just therapy for Elise’s tragic love life,” Kaitlyn quips against the backdrop of Elise’s laughter, “but now we’re moving in the direction of writing about important things, issues young women face.”

They do so in a way that is uplifting and fun. Even in the lyrically negative moments you never want to sit and ponder, instead the feeling dictates that these thoughts should be celebrated: “Women can relate to the things we sing about, all women go through the same trials and tribulations,” laments Elise, with Ellie adding “we want to write about situations people can relate to but, also, can boogie to.” The band’s latest release was a much-anticipated EP, You Say She’s Satisfied, and the tunes encapsulate the collective feelings that come with relationships, anger and desire. And Again sees Elise and Kaitlyn repetitively harmonise over the line “you’re only in love with yourself ”, and the double vocal comes into its own.

COVER FEATURE

MUSIC

KOMPARRISON SLOTS IN NICELY WITH THE TRADITION OF LOUD AND UNAPOLOGETIC NORTHERN WOMEN

Empowering and reassuring, the lyrics are reinforced by friendship and shared experience. Elise says that she couldn’t do it without Kaitlyn, and Kaitlyn responds: “we back each other up on stage and in life.” Embracing their angst and dealing with feelings head-on seems to always have been at the forefront of Komparrison; however, presenting as they do, they’ve found it hard to shake expectations and, later, categorisation. “There’s always someone who thinks they’re going to hear some Taylor Swift when we walk on to the stage,” jokes Kaitlyn, whilst Jess conveys the adamancy of Komparrison’s fluid and unrestrained approach: “We can be girly and nice, but we can also be loud and messy; we can be anything.” Talking of the early days, Elise laments the tendency for bands to be constrained to genres and what two young girls should be trying to achieve: “We were put into a category all the time and told we needed to play the songs that people want to hear. We hated the box we were put in because we looked a certain way. In reality, we treat every song differently; every song needs its own respect.” And so, Komparrison slots in nicely with the tradition of loud and unapologetic Northern women. They know their noise should be celebrated and it just so happens that the more noise Komparrison makes, the better they sound, concluding in their punk-esque tune Loose Lips, if you don’t like it just “don’t date me.” “There is a scene up here for female alternative acts,” Kaitlyn comments. “When we were growing up where was that female voice in the music

industry? There were the pop princesses, or however you want to categorise it, but calling them pop princesses now seems a bit ridiculous,” adds Elise. “Avril Lavigne walked so Komparrison could run,” jokes Kaitlyn. However, this doesn’t stop the band from confronting their softer side. Their song Repeat deals with a soulful and contemplative nuance, and, as they all joke, this is very much in line with the way they listen and write music. “I could be listening to Slipknot at 9am and Beethoven by dinner,” reflects Kaitlyn. “We just play what we like,” says Jess. Elise rationalises their restraint from ever being boxed within the bounds of categorisation again, even in terms of genre: “There are so many genres, so why not utilise them all? Why not try and use every bit of music we like?” With their latest EP, they wanted to encapsulate the many genres that make up Komparrison’s unique sound, in fact, their wide and varied listening is what produced a boiling point of genres in the first place. “The EP is not like turning a page in a book, each song is an individual story in its own right. You have to listen to the whole thing to grasp us,” concludes Kaitlyn. Komparrison’s listeners are at the heart of everything we talk about. The crowd’s emotion and their reaction towards the songs and performance are colossal. “We always want to break the fourth wall. It’s never just people watching a gig, it’s the people who fuel it and keep us having a mint gig,” says Kaitlyn. What’s more, they don’t prioritise perfection either. Elliot expands: “We could play every note perfectly, but that’s nothing without a good crowd – that comes from a different place.” The conversation comes back to being Northern and trying to navigate artistry from such a polarised but infinitely loved place. “Manchester, London, Liverpool – they’ve all had their time and now it’s ours,” demands Elliot. They Say She’s Satisfied was the first vinyl to be made by the North East’s first vinyl pressing company, Press On Vinyl, and the whole process has been special for them, reminding them of what can be created in the region if given the chance. “Pressing vinyl in the North East allows a magnifying glass over what we can do. It’s not for personal gain, but for every musician up here,” concludes Elise. You Say She’s Satisfied by Komparrison is out now. The band play The Green Room stage at Stockton Calling on Saturday 16th April. www.linktr.ee/komparrison

INTERVIEW

MUSIC

INTERVIEW

BOB VYLAN

AHEAD OF THE RELEASE OF A NEW ALBUM AND STOCKTON CALLING APPEARANCE THIS MONTH, LEIGH VENUS TALKS TO BOBBY VYLAN ABOUT THE DUO’S VITAL VOICE IN THE SOUNDTRACK OF 21ST CENTURY BRITAIN

Let’s start at the end. Wrapping up an early-morning chat with Bobby Vylan, frontman of searing grime-punk-rap duo Bob Vylan, I’m looking for the take-home message. “Eat healthy, drink water, try to get enough sleep. Eat one meal a day by yourself, enjoy that meal, and don’t look at your phone. Just have some time for yourself.” Wholesome stuff, especially considering how lazily the music press paints the band as ‘extreme’. Yes, Bobby and drummer Bobbie Vylan infuse their work with the reality of their experience of police brutality and racism. But, zoom in, and their work is about as extreme as Charles Dickens getting a bit sharp about interminable poverty and sickening social conditions, and every bit as essential to understanding England today. “Within our own family, friends and community, no one is shocked. If you’ve never had your face on the floor and police on your back when you didn’t do anything wrong, it will seem extreme, but it’s a well-proportioned reaction to what we’re going through. Dare I say; it’s still not as far a reaction as is warranted.” Bob Vylan exploded into wider public consciousness in 2020 with scorching album We Live Here. Creating a record label to get away from a controlling industry, in the wake of the George Floyd murder they threw up their (now scarily relevant) new music, and a surge of interest ensued – one that still rankles. “It’s painful, man. We’ve been talking about this from the beginning of time, before we made music. Within our communities we’ve been facing these things and figuring out how to live under occupation. It’s popular today to be like ‘Black lives matter’ and ‘defund the police’ and post infographics on Instagram and be like ‘yeah, doing my part, man’. We don’t have that luxury. Every day we have to live and exist in this skin, in this country, under these power structures designed not to support but oppress us. So to see other people take it as a momentary fashionable thing to prove that they’re inclusive and not racist, it’s incredibly frustrating. It drives me crazy.” As interest snowballed, the promoters and magazines that ignored Bob Vylan in the past crawled out of the woodwork, compelled by an editorial push to forefront Black voices. “I’ll forever be angry. It’s not that people hadn’t heard of us or heard any of the things we were saying; they just chose to ignore it or deem it too violent. It’s opportunistic when the rights of Black and dark-skinned people become a talking point and something that people are scared about getting called out over and being called a racist or not being seen to represent all people. It makes me extremely angry.” Even as we speak, Britain’s most senior police officer Cressida Dick has just stepped down after a damming report showcased a police force rife with racism and discrimination. Yet more affirmation of all Bob Vylan have been talking about since day one, Dick was infamous for dismissing accusations, saying there is the occasional “bad ‘un” within the ranks. “The thing is like you can’t have that in some professions. All the apples have to be good. If we’re not going to defund it and redistribute the money into community-driven initiatives, then

EVERY DAY WE HAVE TO LIVE AND EXIST IN THIS SKIN, IN THIS COUNTRY, UNDER THESE POWER STRUCTURES DESIGNED NOT TO SUPPORT BUT OPPRESS US there needs to be a discussion of what can be done to weed out said ‘bad apples’. A more in-depth psych test would be the bare minimum. Get the psychopaths out of there.” Not willing to allow cosy visions of bobbies on the beat and chocolate-box fantasies of the British Empire to erase their lived experience, Bob Vylan reappropriate the iconography of the UK in their music and art to tell their own vital story of being English in the 21st Century. “We grew up in areas where if you saw a Union Jack or a Saint George flag in a window, that’s a no-go area. As a child, you know. We have just as much claim over this country as anybody else, which means we have just as much claim over the symbolism and direction of this country.” Picking up from where We Live Here left off and the vivid new vision of England it evoked, a new album is just around the corner. Bobby remains cryptic about the content. “Expect the unexpected is all I can say. It’s more empowering and fun in the production and the lyrics. There’s been an attempt to find the comedic aspect of some of the topics we’re talking about. I’m excited for people to hear it because we’ve been just listening to it and enjoying it for a long time. It’s a great album, and that’s not me trying to sell it!” A concept album, the theme that runs through Bob Vylan Presents The Price Of Life is the interaction between people and money – the things people do to get it and keep it, and its effect on health and communities. “It’s about how you eat and live. There are so many little lines in each track – that’s the gold, the nugget, that one line or bar that says so much. Every time I listen, I think, ‘oh man, I like what that says’. I would sit here and recite it if we had more time!” Honestly, it’s tempting. But time is tight, and I need to know what we’re leaving people with. One of the most exciting bands in the UK right now, Bobby and Bobbie Vylan are an explosive duo, cripplingly charismatic producers of seismic soundscapes overflowing with the truth of their lived experience. So what’s the take-home message? “Wash your cartons out!” Bob Vylan play the Sticky’s stage at Stockton Calling on Saturday 16th April. Bob Vylan Presents The Price Of Life is released on 22nd April via Ghost Theatre. www.bobvylan.com

INTERVIEW

LUKE ROYALTY

STEVE SPITHRAY CHATS WITH DARLINGTON’S SOULFUL, GENRE BENDING ARTIST ABOUT HIS DEBUT EP

MUSIC

Image by Alfie Bruce

IT’S QUITE PERSONAL AND INTROSPECTIVE LYRICALLY AS A LOT OF MY SONGS OFTEN ARE I THINK, BUT IT’S STILL HAPPY SUNNY VIBES AT THE SAME TIME Despite everything that has happened in the last two years, grassroots music in the region seems to have survived with a surprising but almost insatiable positivity, and when I asked Darlington’s Luke Royalty why this might be he was quick to offer a sage response. “I think lockdown evened out the playing field for areas which would usually get less attention. It meant that the industry couldn’t just function through London like it usually does.” But the genre bending alt. rapper is not one to dwell on what might have happened in the past. Luke’s latest single Commuter is a feel-good lo-fi anthem with a bit of doo-wop thrown in for good measure, and I asked if the rest of his forthcoming EP, My Blue Room, would be of an equally sunny outlook. “Every song is different, which I’m really proud of. It’s quite personal and introspective lyrically as a lot of my songs often are I think, but it’s still happy sunny vibes at the same time.” For those that aren’t already familiar with Luke’s music, his signature style is a mix of a lot of different styles and influences. Previous single Blue Peter, also featured on the EP, showcased his mellower side with an emotive and personal ode to those struggling with their mental health. Luke gave me a little insight

into the creative process. “It changes all the time. I wrote [the EP] with my friend and producer Julien Flew and our writing process was so quick. We wrote and recorded Commuter in about two or three hours from scratch and a lot of the other songs were started and finished in a day, which was so cool.” Luke is from a creative family of artists and musicians, and the confidence that comes with that clearly allows him to work so freely. That coupled with a strong work ethic has seen the singer already championed by Radio 1’s Jack Saunders. In fact, when we spoke Luke was still on a high from his recent tour with Jake Bugg and he told me how that came about. “I’m the luckiest sod in the world basically! We share the same management and when they mentioned the tour last year I was determined to prove to them I would be a good fit on the bill, and after some lethal summer shows of our own, we got the opportunity, which I’m eternally grateful for.” Shy bairns, as they say, get nowt, and with that youthful positivity and enthusiasm showing no signs of diminishing, Luke is keen to build on the momentum for the rest of the year, so don’t bet against him delivering a couple more feel-good hits before the summer is out. “I honestly cannot wait for the summer! Last year was so good as it was our first gigs with my band so I’m buzzing to do that all over again. I just wanna smash out as many tunes as possible and release another EP in summer...” Luke Royalty releases My Blue Room EP on 8th April via Soul Kitchen Recordings. He performs on The Georgian Theatre stage at Stockton Calling on Saturday 16th April. www.facebook.com/lukeroyalty

INTERVIEW

ART & LIT

L-R: Graham Dolphin, Guardian 10.11.2001, 2022. Detail - Torn newspaper and tape, Everest Pipkin, Lacework, 2020. Digital files from dataset

COVER VERSIONS

MERA ROYLE TALKS TO ARTISTS GRAHAM AND ANTHONY DOLPHIN ABOUT THEIR NEW EXHIBITION WHICH USES OLD MATERIAL TO EXPLORE THEMES OF ORIGINALITY, OWNERSHIP AND FANDOM Cover Versions is the latest exhibition curated by artists Graham and Anthony Dolphin. On display at Sunderland’s Abject Gallery from Friday 1st April-Sunday 1st May, the collection presents work from national and international contemporary artists in celebration of the subjective notions of originality, ownership and authenticity. Cover Versions will feature numerous acclaimed artists, musicians and film-makers in an eclectic mix of styles and skills. Each explores how old materials can be reworked and reclaimed to make new creations. Prominent works include Audiobok by Buttress O’Kneel, a sound work which uses audiobooks as its source, cuts them up and puts them back together to create new narratives. Similarly, People Like Us (UK) [aka, artist Vicki Bennett] is exhibiting her film, The Mirror, which repurposes pre-existing footage to craft audio and video collages with a dark and witty take on popular culture. The film is spliced together with unique, sample-based music. “For me, they are more interesting than the original source.” Graham said about the piece, “By pulling them apart it highlights the oddness and staging of actors reading aloud from now obscured literature.” Whether the source is image, film, sound or objects, each artist has shifted the ‘original’ to create new meanings and dialogues. It is certainly a concept which the curators, as featured artists themselves, have explored and absorbed since their teenage years. “My brother and I would tape records borrowed from our library and spend hours making covers for them, fastidiously writing down all the names and details from the record covers,” Graham told me. “The tape was only ever a copy but now it was our copy.”

THE TERM COVER VERSIONS IS MORE ASSOCIATED WITH MUSIC, THERE ISN’T REALLY AN EQUIVALENT IN ART

Anthony spoke about his fascination with films as a child. “I loved the studio portraits of stars and the pristine stills of films. They looked more beautiful and interesting than the real world.” His piece for Cover Versions is a selection of film and pop star studio portraits, torn up and replaced to form a paper collage. “I think my primary attraction to these photos of actors and musicians comes from a kind of fandom and its attendant perversions of adoration and veneration and the fetishistic acts of looking and possessing.” The exhibition explores themes of authenticity and fandom in the works of a lot of the artists from a musical perspective. The talents of Andrew Tift, who specialises in realistic drawings and paintings, exhibits three paintings from his Doppelganger Series, in which he has reproduced identically in painting the visual appearance of three record covers, complete with scuffs and marks. In contrast with this, contemporary painter Steve Keene takes an LP cover which is quickly copied and rendered in broad brush strokes. The next is a copy of the one before, a copy of a copy. When seen in series, the familiarity of the original image is changed and reclaimed by the artist. He says of his work: “I want buying my paintings to be like buying a CD: it’s cheap, it’s art, and it changes your life, but the object has no status.” Graham expands on this theme: “The term Cover Versions is more associated with music, there isn’t really an equivalent in art.” Copying, reusing and reclaiming are common aspects to music creation, and so the exhibition ties this perspective to visual and sound art, allowing each artist to look to old materials for inspiration, allowing greater scope for exploration and experimentation. The exhibition celebrates the idea that reworking objects and materials enables us gain a better understanding of the world around us. Cover Versions is exhibited at Abject Gallery at The Athanaeum, Sunderland from Friday 1st April-Sunday 1st May. www.cover-versions.co.uk

INTERVIEW

MIDLAKE

WHEN YOU SEE THOSE MOMENTS WHEN SONGS CONNECT, IT’S REALLY THE GREATEST PLEASURE

DAMIAN ROBINSON DISCOVERS HOW THE TEXAN FOLK ROCK BAND HAVE CAPTURED THEIR INTROSPECTIVE SOUND ON NEW ALBUM, FOR THE SAKE OF BETHEL WOODS

MUSIC

Returning almost eight years after their last long-player, and with virtually none of the modern-day fanfares, teasers or trailers that seem necessary to pre-empt just about every new release in the cultural landscape, there’s something distinctly Bowie and Black Star about the reappearance of Midlake and their new album For The Sake of Bethel Woods. Expansive, pensive and filled with interesting instrumentation, the first three releases from the record feel like watching the collective take part in an almost purging ritual; like Bowie, they may not choose to let you know about their every move, but they are happy to let you in to their recent past by presenting it in a deeply intellectual, highly artistic, manner. From the pounding, almost breakbeat, drum patterns of recent single Bethel Woods, through to the electro-filled textures of Noble, For The Sake of Bethel Woods is a collection of songs bound together through a combination of introspective lyrics (“Who would want to hear about the wanderings of my mind / this wasn’t supposed to be my life” lead singer Eric Pulido intones on Noble) and a severe push of their traditional soft folk rock sound into lo-fi, experimental settings and production. “Yeah, I guess we had no real set mantra with these songs,” confirms Eric when asked about the album, “in the past we may have moved the sounds towards one particular feeling, which may have fit with an album, but with these we just let each song do what it wanted to do. Capturing the essence of the song was the most important thing for us.” Perhaps impacted by the process of working with the first external producer of their career, John Congleton, (“he was a real support

to us in helping capture the songs as they wanted to be, and to feel good about that process”), For The Sake of Bethel Woods feels alive with the type of energy that comes from letting songs blossom in their own sound rather than directing them towards a particular theme or production. Stepping back in to the live scene, Eric confirms that recent shows in Texas have also helped to “evolve and move the songs” by being played in front of an audience, helping the band to hone their songs for an upcoming touring schedule which includes a stop off at Newcastle University on Friday 8th April, something the band are excited about. “We can’t wait to play live and we really appreciate playing to an audience more than perhaps we ever have. More than anything, it’s about trying to help the songs connect with an audience, and when you see those moments when songs connect, it’s really the greatest pleasure.” A post-lockdown trip of the UK is also a great tonic for the band, particularly given a lot of their early life was spent on these shores. “It really is like a second home for us. Our original label was from the UK so we spent lots of time playing and writing over there, and then we had good help from gigs and stations like 6Music who played us early, and all of that really makes you appreciate the people who helped you early in the band’s life.” Midlake are the quiet, humble band who let their music, rather than their private lives, do the talking. Midlake play Newcastle University Students’ Union on Friday 8th April.

www.midlakeband.com

INTERVIEW

MUSIC

FIONA LIQUID

ADELLE SUTHERAN CHATS TO THE ENIGMATIC FRONTPERSON OF NORTH EAST POST-PUNK SYNTH POP BAND FIONA LIQUID It seems fitting to me that the overarching theme of this piece is predominantly about growth and pushing one’s comfort zones creatively in order to progress, grow musically and experiment with sounds that are not identifiable with an artist, but that is exactly what Newcastle-based inventive artist Fiona Liquid’s debut EP, Fluid, has done by the bucket load. While chatting with Fiona (also known as Finlay Ireland), I found her to be enthusiastic in explaining her work and how she arrived in her current musical guise. “The reason I perform under Fiona Liquid is down to two reasons: it’s just really fun to dress up in a wig and make-up. Seriously, every man should do it at least once. And, it’s a way for me to separate the two aspects of myself. When performing on stage, you put on an affect, to an extent. David Bowie was really Davy Jones, Alice Cooper is really Vincent Furnier. Fiona Liquid is my spin on doing that.” Fiona’s tenacity and love of artistic self-exploration has paid dividends on her debut EP. It’s not over-produced, or steeped in finesse, and this is endearing. I cannot get away from the punk influences in everything I hear, but I don’t think that’s necessarily a bad thing, as we all have a foundation from which we move forward, and I believe this may be hers. “I’ve always hated it when I’m finally uploading a song and it asks me what genre the song

WHEN PERFORMING ON STAGE, YOU PUT ON AN AFFECT, TO AN EXTENT. FIONA LIQUID IS MY SPIN ON DOING THAT

falls into.” She explains. “Especially in today’s age, where genre becomes more fluid and artists take more from varying different inspiration.” Fiona describes opening track New Thing! as “trying to write a pop song that also doubles as a cheeky critique of materialism”. To me, every track throughout the release is underpinned with the blatant and brazenness that is characteristic of punk. Fiona tells me that she uses pop artist Olivia Rodrigo’s writing process – “Lyrics first, song second” – which indicates the experimentation rolls right back to the skeleton of the processes. On lo-fi track Blue she draws from her own periods of poor mental health for inspiration. “Having suffered from depression since I was a young teenager, the lyrics came very quickly.” Further explaining that, “the vocals are some of the best I’ve ever done. At least so far. Also the hardest, the breath control required was way out of my range.” The ever-evolving James – by far the most interesting instrumentally, as there is so much going on – is a favourite of Fiona’s too. “It was my favourite to make, building on a demo and transferring it into this insane dance/electro monster.” Lastly, Happiness: “It’s a song of happy accidents…the synth line is a total accident. I’d say it’s my best work so far.” It’s a pleasure to bear witness to this artist’s experimentations, which require her to be both uncomfortable and vulnerable. Join her on the journey, you won’t regret it. Fiona Liquid releases Fluid on 15th April. She performs at Head of Steam, Newcastle, supporting Drool, on Saturday 2nd April. www.linktr.ee/fionaliquid

INTERVIEW

ART & LIT

Insect Apocalypse 2022 by Dean Turnbull

EARTH REQUIEM

HELEN REDFERN TALKS TO ARTS COLLECTIVE SUNDERLAND INDIE’S FOUNDER BARRIE WEST ABOUT CREATING WORK WHICH CAPTURES THE ZEITGEIST “The formula of good art and people’s curiosity is key.” When it comes to the latest exhibition from Sunderland Indie, Earth Requiem, concept artist Barrie West advocates creating a space where creatives can express themselves in ways that capture the imagination of the audience. “With Sunderland Indie,” founder Barrie elaborates, “I’m trying to open doors for everyone who is creative, to create anything that adds to the message.” The message has always been the zeitgeist at the time, which has led the collective to create work which spans many mediums and themes. Ten years ago, when Barrie became overwhelmed with the images and reports coming out of the Palestinian/Israeli war and the atrocities and terrible bloodshed, his show at Sunderland Minster concentrated on his response to the crisis in the Middle East. It became like therapy for him, and by the end of the first week he was getting numerous applications to join the first exhibition of All We Are Saying. As more and more artists got in touch, Barrie posed the question “Why don’t you have your own exhibition?” and before long, satellite exhibitions were organised from Seaham and Gateshead to Germany and Japan. “It spread like a virus”, remarks Barrie, “and really showed the power of the zeitgeist.” So is the climate emergency the zeitgeist right now? All We Are Saying 3 – Earth Requiem, which will exhibit at Arts Centre Washington from Tuesday 12th April-Saturday 28th May, grew out of Barrie’s despair about the climate emergency. He expresses a sense of hopelessness at everything that has been spiralling out of

WITH SUNDERLAND INDIE I’M TRYING TO OPEN DOORS FOR EVERYONE WHO IS CREATIVE, TO CREATE ANYTHING THAT ADDS TO THE MESSAGE 40

control in the last three or four years in particular: “It’s like you have to grab people and say ‘You’re going to die’ before people realise they’re going to die. People are not going to listen. There’s too much at stake.” He’s creating art out of this anxiety about the world and finds it therapeutic to do something. That’s the motivation behind Earth Requiem: just do something, just say something. Let’s raise the profile of the artists involved and let’s make public what the public is concerned about already. Barrie recognises that it’s hard for people to be confronted with hard-hitting truths about climate disaster, but he’s confident that audiences will fill themselves up with the message when they see the interesting and demanding work by the artists taking part, which spans sculpture, photography, film, music, painting, poetry and more by artists including Dean Turnbull, Angela Sandwith, Ian Boddy, Stephanie Smith, James Wilkinson and Mike Clay among others. During our conversation, Barrie spoke of his depression, anxiety and despair. I’m curious to know if he sees any seeds of hope. He responds with a long audible sigh and takes a while to respond. “I don’t know,” is his answer, “I really don’t know. I would hope people find some seeds of hope. Some of the stuff is quite beautiful. My stuff is always bleak. I’m just hoping some of the other contributors will bring an element of delight in there.” Climate anxiety is the zeitgeist. Barrie and the other artists in Sunderland Indie have found that doing something helps – the activity of doing something in response to the earth’s requiem creates its own hope. Join them in being challenged, inspired and motivated to take action. Sunderland Indie present Earth Requiem at Arts Centre Washington from Tuesday 12th April-Saturday 28th May.

www.thesunderlandindie.wordpress.com

INTERVIEW

MUSIC

DUNES

Image by Graeme Baty

WE’VE ALWAYS PUSHED OURSELVES MUSICALLY. WE’VE NEVER WAITED FOR THINGS TO HAPPEN, WE’VE WORKED TO MAKE THEM HAPPEN

LINSEY TEGGERT TALKS TO THE NEWCASTLE STONER ROCK TRIO ABOUT THEIR REFLECTIVE YET OPTIMISTIC NEW ALBUM As Newcastle stoner rock trio Dunes list the alt. music heavyweights they’ve been lucky enough to support since they formed in 2016, it’s evident that their hard work has paid dividends. They’ve opened for Idles (days after their first SXSW appearance), supported hugely influential stoner rock pioneers Monster Magnet and bagged slots with Jamie Lenman, Holy Fuck, Ginger Wildheart’s project Mutation and not forgetting American sludge heroes Red Fang. “As far as surreal moments go, supporting Red Fang in a working men’s club in Middlesbrough has to be up there; there was a meat raffle board in our dressing room,” laughs bassist Ade Huggins. “We’ve always pushed ourselves musically. We’ve never waited for things to happen, we’ve worked to make them happen,” continues Ade. “I think that drive is what has helped us create the opportunities we’ve had.” Dunes were determined to kick things up a notch when it came to recording the follow-up to their 2019 debut Take Me To The Nasties, released via acclaimed local label Sapien Records. The plan was to head over to the States to record with stoner rock legend Dave Catching at his famous Rancho De La Luna studios in Joshua Tree, California, where the likes of Queens of the Stone Age, Kyuss and Masters of Reality (to name but a small few), have recorded. As 2020 played out, it became apparent that there would have to be a plan B. Never ones to stand still, Dunes decided to bite the bullet and record their second record themselves. So Gargoyles came to life in their rehearsal space, with drummer Nikky Watson steering the production helm. “Writing wise, the extra time we ended up with and the self-producing element, meant that we spent a lot of time really pulling everything apart,” explains Ade. “We made sure that everything was there for a reason; we really wanted it to sound like a cohesive piece that flowed well from start

to finish.” The resulting record is much darker and more reflective than its predecessor with, understandably, themes of isolation and loneliness. While Take Me To The Nasties immediately hit the listener with explosive riffs and driving grooves reminiscent of early QOTSA, Gargoyle focuses on doomier, more expansive soundscapes, replacing up-tempo swagger with a more pummelling, hard-edged sound. “The change in tone wasn’t really a conscious decision – a lot of these songs were a product of what we were all experiencing over the past couple of years,” says Nikky. “Although some of the subject matter could be considered to be dark, I would hope the delivery, and at times humorous approach, manages to show an optimistic outlook to the negative aspects of the collective experience of the last two years,” adds guitarist John Davies. Indeed, things are looking more optimistic for Dunes in 2022 and beyond, with plans to begin writing their next record imminently plus plenty of gigs and festival appearances lined up, most notably London’s Desertfest, the ultimate festival for all things stoner, sludge and doom. It also looks like they may make it over to the States finally too... “One of our favourite experiences was playing Fuzz Festival in Stockholm at the end of 2021, and off the back of that we’re heading back to Sweden in April to play Fuzz Festival Malmö,” says Nikky. “We’re already in touch with a number of European festivals for 2023, and it’s looking likely that we’ll be heading over to play a festival in Austin, Texas next year, so we’re hoping to build in a bunch of dates while we’re there.” Dunes release Gargoyle on 22nd April via Sapien Records. They play Little Buildings, Newcastle on Saturday 23rd April, supported by Earl of Hell, The Vessel and Tankengine. www.dunesncl.bandcamp.com

MUSIC

CIGAR CIGAR

Image by Ben Benoliel

HOPE LYNES SPEAKS TO THE TEESSIDE FOUR-PIECE ABOUT THEIR DEBUT EP, LOCKDOWN RECORDING AND THEIR COLLABORATION WITH STUDENT FILM-MAKERS Teesside-based four-piece Cigar Cigar release their debut LP, The Edge Of The Conversation, this month, a 12-track record which has taken 18 long months for its members to produce. The album’s soundscape is a nostalgic one, blending across the rock genres to encapsulate many inspirations. Singer and guitarist Russell Smith explains how his inspirations changed throughout the writing process. “Naturally you’re sat at home, listening to a lot of music, and you hear stuff that you haven’t heard before; you start hearing other bands and you’re wondering if that should sound a bit more like that.” Lockdown had an influence on all artists, but for a group putting out their debut release, it reshaped how the record took form. “Things change, you think this should be done over two months, you’ve got it mapped out, and then all of a sudden somebody says you’re going into a national lockdown… When you go back in and you’ve already got the picture in your head of how you’re gonna record it, the world’s moved on.” The album’s title track is an upbeat and memorable rocker that calls to mind Manic Street Preachers, laden with playful riffs. By track three, Rink End Mafia, the pace has now moved to American country rock, and their restless spirit is further encapsulated on closing track Old Lines Lovers, which is full of reflection and melodic brass. The Edge Of The Conversation isn’t just an aural experience, the

IF I COULD JUST HELP ONE PERSON FEEL LIKE THEY ARE NOT ON THEIR OWN, AND CONNECT THROUGH THIS RECORD TO LET THEM KNOW THAT THERE IS HOPE, THEN THAT’S JOB DONE FOR ME 42

band also collaborated with Northern School of Art students to create music videos which accompany each of the album’s tracks; Russell explains that he wanted to give back to others in a way which had benefited him when younger: “I studied at Hartlepool sixth form college, we were fortunate that we had a musician come in at the time, and it really stuck with me that she’s taken the time to get involved and explain a bit about the industry, so when it came to making the films, I really wanted that local input.” One video already on YouTube is Warsaw Skyline, which perfectly encapsulates the holiday feel to the track and the longing within it for a sense of romance. “Northern School of Art have got a fantastic film-making team, and we gave them absolute free reign, which was a massive risk because of their interpretation of what the song is about…that was an absolute revelation because most of them got what the songs were about straight away.” Russell explains that the band’s focus has increasingly settled in the North East. “The local scene’s been left a bit too long and it doesn’t get the attention it deserves. We’re not a London-centric band, we did all that before, and you get a bit sick of driving back up the A1 having played to about 30 people in some shithole in London.” Russell’s honesty is refreshing, and it’s an attitude which is reflected throughout the album, with song themes touching on mental health topics. “There’s an awful lot of the record which is based on mental illness, which in a way actually benefited it; it’s a very honest album, which deals with serious issues. If I could just help one person feel like they are not on their own, and connect through this record to let them know that there is hope, then that’s job done for me.” Cigar Cigar release The Edge of The Conversation on 4th April.

www.cigarcigarmusic.co.uk

INTERVIEW

MUSIC

HEATHER FERRIER

Image by Megan Savage

ALI WELFORD DISCUSSES THE MANY AND VARIED JOYS OF THE ACCORDION, WITH VIRTUOSO PERFORMER AND SOUNDWORLD CREATOR HEATHER FERRIER While harps, ukuleles and the like enjoy a fresh contemporary renaissance, the accordion remains curiously typecast in the eyes of many. Heather Ferrier, though, sees things differently. An engaging talker, magnetic performer and prolific presence in local folk circles, this virtuoso is set on shifting perceptions with her debut solo EP, employing her instrument in a manner notably removed from its traditional grounding. “I first started playing the accordion in primary school,” she recalls. “I don’t come from a folk family or anything like that, but my school was a bit weird in that folk music was the main thing we played. We were given the choice between learning accordion or fiddle, and I chose accordion – partly because it’s quite loud, and partly because not many girls played it.” Given her budding creative mind, it didn’t take long for this pull to grow more nuanced: “It’s quite a complex instrument; there’s a lot of really unique rhythmic sounds you can get from it that you can’t from say a guitar groove. It creates a big, emotional sound, and since you can play both the melody and accompaniment there’s so much scope to do different things. I think that’s what’s kept me going with it for all this time!” Now working in education herself, Heather is more aware than most of how her companion has come to be regarded among musicians of the future. “The kids I teach mostly know accordions from the buskers they see on street corners, samples in dance tracks or French waltzes…they’ve never seen an accordionist up

IT CREATES A BIG, EMOTIONAL SOUND, AND SINCE YOU CAN PLAY BOTH THE MELODY AND ACCOMPANIMENT THERE’S SO MUCH SCOPE TO DO DIFFERENT THINGS

on a platform, and there’s just so much more that can be done.” Born and raised in Stockport, Heather came to Newcastle aged 18 to study Folk and Traditional Music. It was shortly after graduating that the seeds of this month’s From The Ashes EP were sewn, by which time she was already applying her skills in the quartet Balter and duo RŪNN. “I was writing for both those projects, but also had ideas which wouldn’t fit with either and decided to keep all to myself! I love the process of being able to write freely; I still write plenty of jigs, but I’ve never fully fitted into the world of traditional English folk music. My style has definitely branched into something more contemporary.” When her boyfriend gifted her a MIDI keyboard for Christmas, From The Ashes’ four bold, dynamic pieces began to take shape in earnest. Rich, evocative and sporting a candid emotional balance, these vivid, electronically-infused soundworlds come – perhaps inevitably – from a place of introspection, with each penned in response to a critical moment during the initial 2020 lockdown. “The EP is based around the emotional processes we’ve experienced over the past couple of years, but I also hope people can find their own meanings within these songs,” she adds. “I’m an instrumentalist – I’ve never sang – and I think the way we connect with melody can be far more personal than with words. Singers tell stories, but with instrumental melodies you can project your own feelings onto them. I wanted to represent the lighter bits as well as the darkness, and I guess what I’d like people to take away from it is a sense of acceptance – that while the world might be rubbish, things will always work out okay in the end.” Heather Ferrier releases From The Ashes on 22nd April. www.heatherferriermusic.com

INTERVIEW

THE BROTHERS GILLESPIE

MARIA WINTER SPEAKS TO THE NORTHUMBRIAN ALT. FOLK SIBLING DUO ABOUT THEIR NEW ALBUM, CHILDHOOD MEMORIES AND THEIR MUSICAL INSPIRATIONS

MUSIC

AS LONG AS THERE’S RELATIONSHIPS BEING WOVEN AND INTERCONNECTIONS BEING DEEPENED, THEN THAT’S MAGICAL “This album is partly inspired by the grace of life in troubled times. Things can look pretty troubled from the inside at times, but there’s something really good about the world.” Northumbrian singer-songwriters The Brothers Gillespie have combined emotive lyricism, beautiful musicality and unique harmonies to explore the magical touch music has on the soul within their newest album, The Merciful Road. James and Sam shed some light on the harmonious musical journey which resulted in the album’s creation. “We actually recorded the entire album by ourselves,” Sam explained. “It’s a collection of songs which in a loose way feels animated by a kind of spirit or vision.” It’s also an album inspired by the serenity of nature paired with sacred childhood memories; self-recorded on the banks of the river Tweed where their Grandma had lived, James recalled a feeling of magic throughout the process. This influence can especially be heard on Albion; a love song dedicated to their beautiful homeland. The delicately intertwining harmonies and thoughtful words evoke the organic imagery that so inspired the duo. By taking great inspiration from the 1960s folk revival, the brothers often formulate their melodious concoctions through both established and spontaneous musical techniques. From

improvised guitar lines to emotive lyrical phrases, Sam described the songwriting process as: “A bit like sketching on a pad, but with sound.” These personal touches manifest profoundly within the album’s second track, Wingrove Road; a song celebrating the colourful streets of Fenham through the eyes of childhood. “It feels good to honour the location and experience of growing up there through music,” explained Sam. “It brings a glow to me every time I perform or listen to it.” As a form of deeper musical affinity, both James and Sam adore the intimacy of particular venues, from performing on a houseboat in Bristol to a circus in Paris. No matter where the gig takes place, for the duo the importance resides in the relationship established with their audience. “It could have many different forms,” James explained, “but as long as there’s relationships being woven and interconnections being deepened, then that’s magical.” This desire to uplift is apparent throughout the entire album, as their music conveys powerful stories in order to raise spirits. Sam explained: “I think there’s a fundamental feeling of wanting to put courage in the heart to stand together with people.” The Merciful Road displays a powerful combination of inner reflection, appreciation and positivity, portrayed through the resonant power of music, resulting in an album which perfectly embodies the initial vision of songs inspired by the grace of life in troubled times. The Merciful Road is out now. The Brothers Gillespie perform at The Globe, Newcastle on Friday 8th April. www.thebrothersgillespie.com

INTERVIEW

COMEDY

JONNY PELHAM

Image by Piers Allardyce

CAMERON WRIGHT TALKS TO THE FORTHRIGHT COMEDIAN ABOUT HOW HIS COMEDY TACKLES TABOOS AND DIFFUSES TENSIONS Comedian Jonny Pelham has been doing the rounds of late, making appearances on shows like Live At The Apollo, Mock The Week and Russell Howard’s Stand-up Special. Through these segments he has established an honest and dry humour which cumulates observations about his life and the obstacles and events that impact it. These national TV appearances act like the ideal synopsis of Pelham’s style. Giving him the opportunity to dive into hushed topics which feel unrepresented and taboo, his new live stand-up show, Off Limits, sees Pelham opens up about his history as a victim of sexual assault and explores the healing process and why it’s still such an outlawed subject. “I wanted to write a stand-up show, it wasn’t about making a lecture, but I did want to be addressing the issues I’ve encountered, because others will have encountered them. Seeing the routines pay off in that condensed version of my act felt like a sign that the show worked.” He says. Depicting his own personal experiences with an art for honest storytelling, Pelham confesses: “I’ve never written a taboo joke, I never wanted to be an edgy or dark comedian. Nor was it a deliberately therapeutic or healing thing, although maybe it has given everything a sort of purpose. I just started writing autobiographical stuff, but it became obvious that to joke about everything happening, I had to address the history behind it, so it slowly became more political that way.” With previous shows addressing his physical abnormalities and the way society turns towards disabled communities, Pelham is a seasoned veteran when writing hilarious, yet personal and precarious material. “Everything I’ve written feels like an organic response to my own truth. Comedy has a great tradition of tackling and diffusing tensions. When you look at the greats, you can see the pain in Richard Pryor’s act for example, you can see the experience. I’ve always been drawn to

I’VE ALWAYS BEEN DRAWN TO COMEDY THAT CHALLENGES SOCIAL NORMS AND BITES BACK, IT OFTEN FINDS A WAY TO MAKE THOSE IMPORTANT DISCUSSIONS MORE ACCESSIBLE AND HUMAN comedy that challenges social norms and bites back, it often finds a way to make those important discussions more accessible and human.” His latest tour sees the comic provide an innately personal show, rife with stories, jokes and social commentary. As harrowing truths, confessions and observations are brought to the stage with candour and humour, Off Limits provides a poignant night of reflection, opening up a much needed discussion. “It’s having an impact, which is really special. I’ve received a lot of messages from people thanking me, and it’s great to play some part in starting a discussion, because for me there just was never a place to talk about it.” Making its way to The Stand, Newcastle on Saturday 9th April, Pelham is no stranger to the revered club. “I was at Newcastle Uni so I was just slowly building up the ranks and The Stand always pushed me out of my comfort zone, giving me my first paid gig and later my first headline slot. I love it there. Newcastle has a crazy and surreal sense of absurdist humour, not in that weird and wanky Oxford way! Returning is gonna be super nostalgic, I can’t wait. In an ideal world, I’ll get myself to Sinners after!” Jonny Pelham performs at The Stand, Newcastle on Saturday 9th April. www.jonnypelham.com

INTERVIEW

April Highlights Friday 1 April Ulrich Schnauss plus Richard Norris Sage Two | 8pm

Friday 8 April Ruby Turner Sage Two | 8pm

Saturday 9 April Nubiyan Twist plus Dilutey Juice

Thursday 21 April The 40th Anniversary Tour Pauline Murray and the Invisible Girls Sage Two | 7.30pm

Friday 22 April Roberto Fonseca Sage Two | 8pm

Saturday 23 April Postmodern Jukebox

Sage Two | 8pm

Sage One | 7.30pm

Wednesday 13 April From The Glasshouse #5 feat Kay Greyson, Jamilah and Dayna Leadbitter

Saturday 30 April Danni Nicholls plus Hayley McKay Sage Two | 8pm

Sage Two | 8pm

Head to sagegateshead.com/whatson for our full gig listings. @Sage_Gateshead

INTERVIEW

MUSIC

THE UNTHANKS

AS THE UNTHANKS FINALLY GET BACK ON THE ROAD, LEE FISHER ASKS RACHEL UNTHANK AND ADRIAN MCNALLY HOW IT FEELS TO BE CONNECTING WITH PEOPLE AGAIN For a band that built much of its formidable reputation through touring, being off the road for the last couple of years has been hard for The Unthanks. “Obviously it has meant a massive change for us as musicians, as it has lots of other people.” Rachel Unthank points out. “Music is a way of forming strong connections with people, and that is what we have missed the most, interacting and being a part of a musical community.” One way the band coped with the lack of audiences and incomes was through their Onliner events, which took their renowned residential singing weekenders and turned them into elaborate and successful online weekend mini-festivals. “The Onliners were a huge learning curve for us,” admits Rachel. “Rethinking how to make music and find a way to reach our musical communities was a challenge. Although we are going to relaunch these in-person events, we wanted to try hard to reach those communities as well as people who come to our gigs. It was a lot of hard work doing things we had never done before, making podcasts, content and online workshops, but it was so rewarding. We also asked people to film themselves singing while out on their allowed hour of freedom, out on a walk, or in their gardens. The response was overwhelming and so heart-warming, it made us feel really connected to others again. A real boost. We followed the same basic format in the second year of our Onliner, with the addition of Becky’s Art Club inspired by Grayson Perry’s TV programme, and interviewing a wider range of musicians and collaborators.” “That’s what the Onliner is meant to be about,” adds Adrian McNally. “Yes, there are exclusive concerts, podcasts, Q&As etc, but mostly it’s about creating opportunities for interaction, participation, community and creativity. In this way, it feels like we’ve maybe created something that will last beyond lockdowns – a way of connecting fans, of creating and communicating together in ways that don’t overlap much with our live shows or

I REMEMBER STEPPING ONTO THE STAGE FOR THE FIRST TIME AND THINKING ‘STOP LOOKING AT ME!’ I THEN GAVE MYSELF A QUICK MENTAL PEP TALK AND FELT VERY GRATEFUL TO BE BACK DOING A JOB THAT I LOVE even our singing weekends.” The Unthanks have played just a couple of shows since lockdown ended so their imminent three-week tour (performing as an eleven-piece band) is both exciting and alarming for them. “You get out of practice,” explains Rachel. “I remember stepping onto the stage for the first time and thinking ‘stop looking at me!’ I then gave myself a quick mental pep talk and felt very grateful to be back doing a job that I love.” Sorrows Away, the long-awaited follow-up album to 2015’s Mount The Air, has been delayed for various reasons – COVID, working remotely – but some of the material will be making it into April’s setlists (alongside songs from their lauded contributions to Worzel Gummidge). “We found ourselves reaching for songs that bring us comfort, like old friends. There is also new material written by Becky, Adrian and myself, as well as plenty of traditional songs including some classics from the North East. For an Unthanks album, this is definitely a more warm, and dare I say it, more joyful, album. Although there is still a reasonable dose of heartbreak, but no deaths!” The Unthanks play Middlesbrough Town Hall on Friday 22nd and Tyne Theatre & Opera House, Newcastle on Sunday 24th April. www.unthankstour.com

INTERVIEW

STAGE

JOHN COOPER CLARKE CAMERON WRIGHT TALKS TO THE PERFORMANCE POET ABOUT THE CHAOTIC COCKTAIL OF HIS WORK Arguably the seminal voice of punk, and an underground poet whose influence reaches from Alex Turner to Mark E Smith, John Cooper Clarke will bring his I Wanna Be Yours Tour to Stockton’s ARC on Thursday 28th and Sage Gateshead on Saturday 30th April. The tour follows the release of his wry autobiography. “The lockdown served me well, giving me time to focus on my memoir, but yet again, it didn’t serve me well as it gave everyone else the time to focus on theirs!” He quips. The velvet voice of discontent captured the eyes and ears of the 70s with his slew of acerbic recitals, rife with heart, humour and honesty. Having opened for the Sex Pistols, The Fall and a myriad of punk icons, the legacy of Doctor John is undeniable. With his audience stretching across the generations, thanks to his entrancing appearances on shows like Cats Does Countdown, the people’s poet is fuelled by a tenacious work ethic, and is eager to return to the stage. “Poetry is a phonetic medium, rhythm and sound is the essence of poetry. If there is such a thing as a poetry establishment, that loose collection of artists with a classical education, they may twist it into something arcane and analytical. I’m no performer, but I think poetry is there to be recited and experienced.” The Northern hero is ‘‘wilfully and deliberately ignorant” by his own account when it comes to classic poetry and Shakespeare, referring to them as “two holes you can disappear into forever” and it is evident that his influences are more immediate. “Muhammad Ali, now that’s poetry! I remember vividly seeing him on the news, clearly conjuring these golden lines off the cuff, it’s up there with the best.” An encyclopaedia of music and cinema alike, Clarke admits “I’ve listened to far more records than I’ve read poems!” and this is verified by the multitude of lyrics and quotes that are sprinkled into

POETRY IS A PHONETIC MEDIUM, RHYTHM AND SOUND IS THE ESSENCE OF POETRY. I’M NO PERFORMER, BUT I THINK POETRY IS THERE TO BE RECITED AND EXPERIENCED every avenue of our conversation. From lusting over the Sprechgesang techniques of Phil Harris, chuckling over the dastardly profane lyrics of Snatch & The Poontangs or reciting lines from across the Jimmy Cagney filmography, each time Clarke reminisces about an artist from his youth you can trace how their influence has trickled into the innovative and chaotic cocktail of John Cooper Clarke’s own work. Notoriously referred to as ‘The Punk Poet’ – a title which the writer concedes “didn’t do any favours in the 80s, punk was dead and the title was a plague” – his name is now synonymous with attitude, anarchy and personality. With his art focused on capturing the “magic realism” of the world surrounding him, no one else has defined an era or a movement in quite the same way. “Punk was never about altering yourself, it was liberation. That was the downfall of punk, it lasted only two years before it was commercialised and politicised. I do what I do, it can’t be changed. The title has served me well and it’s here to say. I don’t call myself the punk poet, anyone over the age of 18 shouldn’t be a punk anything! By its very nature it’s a derogatory reference to some form of undeveloped adolescence.” John Cooper Clarke performs at ARC, Stockton on Thursday 28th and Sage Gateshead on Saturday 30th April.

www.johncooperclarke.com

INTERVIEW

THE CUMBERLAND ARMS 20TH ANNIVERSARY CELEBRATIONS

AS THE CUMBERLAND BEGINS CELEBRATING ITS TWENTIETH YEAR WITH JO HODSON AS LANDLADY, LEE FISHER ASKED HER WHAT THEY HAD PLANNED. AND IT’S A LOT….

MUSIC

I remember an evening at The Cumberland Arms a few years back involving DJs, indie bands, mummers and an Irish session. It was at once like a mad tiny festival and yet just another Cumby Sunday. It’s in that spirit of inclusion, invention and energy that the Ouseburn pub is celebrating its 20th year with Jo Hodson as landlady and as you’d expect, they’re really going for it. A vast series of events both inside and outside the pub kicks off on Easter Weekend. “Hannabiel Sanders has put together a new band recently – the Midnight Blue Collective – so it’s going to be amazing. Then on Easter Sunday it’s going to be Sister Shack and Rock ‘N’ Doris on the terrace, so DJs all day. And then Monday the lovely Rob Heron is DJing on the terrace and Dilutey Juice are playing. So that’s the launch of the events… And then pretty much every weekend following has got something on.” Hodson enthuses. And it doesn’t end there... “There’s going to be a quoits competition in honour of former landlord and sportsman Jocker Wood. We found an article showing that on 23rd April 1912, he won a quoits championship so we decided to redo it. On 14th May the wonderful Steve Jefferis [Warm Digits] is bringing back Cathode so we’ve decided to organise a day around it, Inside

IT’S JUST ABOUT WORKING WITH AS MANY DIFFERENT PEOPLE AS YOU POSSIBLY CAN AND CREATING A SAFE SPACE THAT ANYBODY FEELS SAFE TO SIT IN, DRINK IN, PLAY AT

Outside. Inside we’re going to have Madeleine Smyth, Faye MacCalman, Nathalie Stern, Stu Walkinshaw and Cathode… and then outside we’re going to have Iris Brickfield, Kitty, Stagger Lee. We’re really excited about this.” Through the summer, Hodson has booked lots of acts or events that have been connected with the pub over the past 20 years, including The Baghdaddies, The Wilsons, Live-E-Oke, Georgia May, Magic Hat and The Pink Lane Bakery. Things culminate with a two-week celebration at the beginning of August. ”And during that two weeks there’s going to be talks about the pub and Ouseburn’s past, present and future,” Hodson explains. “There’ll be an exhibition of photos from the area, and of the pub, from 1898… My dad is even doing a podcast!” One thing the pub – and its sister venture The Old Coal Yard – has come to be known for is its involvement in various communities, LGBTQ+ in particular. Hodson is clearly proud of the space that’s been created but keen to point out that it’s not in any way contrived. “It’s just about working with as many different people as you possibly can and doing things without saying ‘this is what we are’, creating a safe space that anybody feels safe to sit in, drink in, play at…if you project that, what comes from it is an amazing, diverse collection of people who want to be involved. The ethos is obvious and people soon realise if it’s not the place for them…if you create a space where that sort of behaviour isn’t welcome, then it can become self-policing.” www.facebook.com/thecumby

LISTINGS

THE BEST OF THE REST...EVEN MORE ALTERNATIVE MUSIC, THEATRE, COMEDY, ART AND FILM TAKING PLACE THROUGHOUT THE NORTH EAST THIS MONTH FRIDAY 1ST APRIL CATCH 22

Stand-up comedy from MC Matt Reed, Eddy Brimson, Kevin Daniel and Jarred Christmas // ARC, Stockton

MAYFLOWER MADAME

Oslo’s finest post-punks, plus support from Waves of Dread // The Shooting Gallery, Newcastle

MXYM

Superb electro goth glam rock // Bobik’s, Newcastle

STICKER BOOK

Paintings by Matt Antoniak and Phil Frankland. Runs until Sunday 10th // 36 Lime Street, Newcastle

THE ILLICITS

Rock four-piece who have recently signed to Alan McGee’s Creation 23 label // KU Bar, Stockton

SATURDAY 2ND APRIL

SLOTH RACKET

Jazz improvisers // The Globe, Newcastle

MONDAY 4TH APRIL METZ

Propulsive drums and shredded riffs // The Cluny, Newcastle

SUNFLOWER BEAN

Melodic American rock band // Newcastle University Students’ Union

TUESDAY 5TH APRIL NICO YEARWOOD

Host of the world famous Top Secret Comedy Club // The Stand, Newcastle

WEDNESDAY 6TH APRIL FRONTIER

Scottish/American mathcore, plus support from Rituals and Negatives // Head of Steam, Newcastle

DRY CLEANING

HAWKLORDS

GOLDFRAPP

PORTICO QUARTET

NE VOLUME MUSIC BAR’S 2ND ANNIVERSARY

THE DUTCHESS OF MALFI

Post-punks // Boiler Shop, Newcastle Performing tracks from seminal album, Felt Mountain // Sage Gateshead The Stockton bar celebrates its 2nd birthday with a line-up which includes Martha Hill, Gone Tomorrow, Cat Ryan and more // NE Volume Music Bar, Stockton

GALAXIANS

Leeds disco titans are joined by electro pop musician Straight Girl and alt. hip-hop artist John Dole // The Cumberland Arms, Newcastle

LAVINIA BLACKWALL

Trembling Bells musician and revered songwriter // Bobik’s, Newcastle

MARK NELSON

Hilarity Bites comedy club welcomes the cutting edge dark humour of Mark Nelson, plus Sammy Dobson and Andy Fury // The Forum Music Centre, Darlington

Space rock // Trillians, Newcastle Instrumental band // Wylam Brewery, Newcastle Northern School of Art students present an anarchic and innovative reimagining of John Webster’s 1612 revenge drama. Also on Thursday 7th // ARC, Stockton

THURSDAY 7TH APRIL FELT TIPS

New comedy night featuring Jack Fox, Sam Mayes and more /// The Cumberland Arms, Newcastle

IBIBIO SOUND MACHINE

Eclectic electronic band // Wylam Brewery, Newcastle

SCOTT MICHAEL CAVAGAN

Local rock songwriter, supported by Tankengine // NE Volume Music Bar, Stockton

SLEEPOVER

FEATURED // TUSK Mini

Live acts, films, talks, workshops and more featuring Klein, Lea Bertucci, Yakka Doon, Erika Lara Leaman and more // Star & Shadow Cinema, Newcastle

SUNDAY 3RD APRIL BRIONY JONES

The artist’s work consists of a mixture of realism, distorted work and line drawings. Runs until Wednesday 6th // The Exchange, North Shields

LADY KOO PRESENTS

Shamelessly good tunes from DJ Lady Koo // The Cumberland Arms, Newcastle

Hark back to the times of sleepovers with your mates and all the best things about being a teenager // Gosforth Civic Theatre, Newcastle

FRIDAY 8TH APRIL JUNIOR BROTHER

Idiosyncratic lyrical singer-songwriter // The Cumberland Arms, Newcastle

PAUL MERTON’S IMPRO CHUMS

Improvised comedy with Paul Merton, Richard Vranch, Suki Webster, Mike McShane and Kirsty Newton // Tyne Theatre & Opera House, Newcastle

SEAHORSE – THE DAD WHO GAVE BIRTH

One trans man’s pioneering quest to start his own family. Plus Q&A with director Jeanie Finlay via Zoom // Star & Shadow Cinema, Newcastle

SHOE CAKE COMEDY CLUB

Improvised madness from The Discount Comedy Checkout plus support // The Georgian Theatre, Stockton

SATURDAY 9TH APRIL ADAM ROWE

Smash-hit comedian // ARC, Stockton

AWKWARD FAMILY PORTRAITS

Their sound spans rockabilly, classic country and western swing among others // The Globe, Newcastle

MCLUSKY

Celebrating the 20th anniversary of Mclusky Do Dallas // The Cluny, Newcastle

SUNDAY 10TH APRIL MANTLET

Hardcore metal band. Support from Embrace Death and Times of Desperation // Little Buildings, Newcastle

TITANE

Julia Ducournau’s Somato-gothic epic // Star & Shadow Cinema, Newcastle

MONDAY 11TH APRIL BENEFIT FOR UKRAINE

Featuring sets from Gavin Webster, Sammy Dobson, Lee Kyle, Matt Reed, Catherine Young and Raul Kohli // The Stand, Newcastle

FOLLY GROUP

Experimental London collective // Head of Steam, Newcastle

ITOLDYOUIWOULDEATYOU

Indie punk collective // The Cluny, Newcastle

WEDNESDAY 13TH APRIL FLUX

Mortal Fools’ Ensemble Young Company present their brand new show featuring a dynamic storyline and banging soundtrack // Gosforth Civic Theatre, Newcastle

SAM SHIELDS

The Northumberland songwriter launches his new single. Support from Megan Dhalai and Callum Tordoff // Bobik’s, Newcastle

THURSDAY 14TH APRIL FEATURED //

Fanny Fest Fundraiser

In a bid to get all-female comedy troupe Your Aunt Fanny’s new show, Muff Said, to this year’s Edinburgh Fringe, they’re putting on a night of comedy, drag and disco featuring slots from Sammy Dobson, Bonnie & Ben Dover Love and the Fannies themselves // The Old Coal Yard, Newcastle

KING INK

Spoken word poetry // Pop Recs Ltd., Sunderland

LISTINGS JOHN SHUTTLEWORTH

Comedy songwriter // Tyne Theatre & Opera House, Newcastle

FRIDAY 15TH APRIL BAND OF HOLY JOY

Stripped-down acoustic show from the urban folk band // The Engine Room, North Shields

FLORENCE & THE MACHINE

Indie pop star // O2 City Hall, Newcastle

FROM THE GLASSHOUSE #5

Featuring performances from Kay Greyson, Jamilah and Dayna Leadbitter // Sage Gateshead

STONE FOUNDATION

Seminal rock band // The Forum Music Centre, Darlington

SMALL TOWN BOY

A celebration of queerness and not fitting in // Laurel’s, Whitley Bay

STUNNING, FIERCE & YELLOW: VOL 2

Featuring artwork from Abi Charlesworth, Connor Shields, David Reynolds, Kelsey Cruz-Martin, Will Hughes and more. Runs until 21st May // The Auxiliary, Middlesbrough

SATURDAY 16TH APRIL JEFF ROSENSTOCK

Punk artist // Gosforth Civic Theatre, Newcastle

NATIONAL YOUTH DANCE COMPANY WORLD PREMIERE 33 young dancers explore movement, voice and music // Dance City, Newcastle

PATTERN PUSHER

Energetic retro-pop trio // The Globe, Newcastle

MONDAY 18TH APRIL HEELAPALOOZA BANK HOLIDAY BLOWOUT

Indie rock trio Weakened Friends perform alongside grit-poppers Snake Eyes // Play Brew Co, Middlesbrough

JOSHUA RADIN

American songwriter // The Cumberland Arms, Newcastle

PROTOMARTYR

Dynamic Detroit rock band // The Cluny, Newcastle

STANLEY BRINKS

Herman Dune artist and anti-folk hero. Support from Freschard // The Waiting Room, Eaglescliffe

THE WYTCHES

The rock band play as part of the National Lottery’s Revive Live campaign // Trillians, Newcastle

TUESDAY 19TH APRIL SENYAWA

Experimental sounds meet traditional Indonesian music // The Cluny, Newcastle

WEDNESDAY 20TH APRIL THE PILLOWMAN

Martin McDonagh’s dark tale of loyalty, legacy and the lasting effects of physical and psychological abuse // Royalty Theatre, Sunderland

THURSDAY 21ST APRIL ALL ABOUT MY MOTHER

Unique comedy drama // Star & Shadow Cinema, Newcastle

BEST OF NORTHERN

Seasoned headliners join forces with up and coming stars // The Stand, Newcastle

HOLY FUCK

MONDAY 25TH APRIL LINDISFARNE

The veteran band perform a benefit gig for the people of Ukraine // Wylam Brewery, Newcastle

SKUNK ANANSIE

Trailblazing rock band // O2 City Hall, Newcastle

Electro rock outfit // Cobalt Studios, Newcastle

SAMMY DOBSON

Solo work in progress show // Laurel’s Theatre, Whitley Bay

MY BARBIE LIFE II

Artist and creative designer Krista Puranen Wilson presents her new photo exhibition. Runs until Wednesday 27th // Newcastle City Library

FRIDAY 22ND APRIL CONFLUENCE

Meta4Dance explore our natural world and our relationship with it // Gosforth Civic Theatre, Newcastle

HILARITY BITES FOOD FESTIVAL SPECIAL

A warm-up for Bishop Auckland Food Festival, enjoy comedy from Justin Moorhouse and more // Bishop Auckland Town Hall

FEATURED //

Jesters: Forgotten Stories of North East Comedy

Gavin Webster, Lee Kyle and John Gibson present a night of songs, stand-up, sketches, stories and silliness to celebrate the launch of Jesters, a new four-part podcast exploring the history of North East comedy // Discovery Museum, Newcastle

THE NIGHTINGALES

Post-punk alt. rock band // The Forum Music Centre, Darlington

TOMMY

Leicester-based showman and indie rock artist // The Dirty Habit, Whickham

WOLFGANG FLUR

Electronica experimenter and a member of Kraftwerk during their golden era // The Georgian Theatre, Stockton

SATURDAY 23RD APRIL THE UNIT AMA

Avant rock. Supported by Yes Grasshopper, Shit Creek and Yakka Doon // The Cumberland Arms, Newcastle

THE VACCINES

One of Britain’s most vital guitar bands // O2 City Hall, Newcastle

SUNDAY 24TH APRIL DRESSED LIKE WOLVES

Lush folkie sounds. Supported by Benjamin Amos and Goodnight Vincent // NE Volume Music Bar, Stockton

JOHNNY & THE BAPTISTS

Musical comedians // The Stand, Newcastle

FEATURED //

Metronomy

Off the back of a successful re-emergence on their seventh studio album, Small Word, the joyful indie electro group bring their tour to Newcastle. Support comes from grime folk fusion artist Hak Baker // Boiler Shop, Newcastle

TUESDAY 26TH APRIL FOALS

Electric rockers // O2 City Hall, Newcastle

THURSDAY 28TH APRIL IN VIVO

Experimental film and live soundtrack, giving a voice to other species. Soundtrack composed by bass clarinettist and experimentalist Gareth Davies // Star & Shadow Cinema, Newcastle

MARK STEEL

A touring show which promises to make the world seem even more mental than it is // Gala Theatre, Durham

MIRACLE VALLEY/THE ROOM

Double bill of cult films by Greg Sestero, including Q&A, script reading session and book signing //Tyneside Cinema, Newcastle

FRIDAY 29TH APRIL CHANTAL MCGREGOR

Blues rock guitarist // The Forum Music Centre, Darlington

HEAD OF LIGHT ENTERTAINMENT

Odd pop joy // Tynemouth Social Club

LEIF VOLLEBEKK

Montreal-adopted singer-songwriter // The Cluny, Newcastle

PIP BLOM

Indie pop powerhouse // Independent, Sunderland

RETRO VIDEO CLUB

Scottish indie rockers // Northumbria University Students’ Union, Newcastle

SATURDAY 30TH APRIL BEHIND THE SMOG

Showcasing a variety of musical styles from Teesside, including performances from Azam, Brad Robinson, Donny Jevs, Reece Hanrahan and more // Base Camp, Middlesbrough

FALLING SPARKS

Naturalistic drone artist and filmmaker Johann Wlight collaborates with Shunyata Improvisation Group // Cobalt Studios, Newcastle

HOT POTATO COMEDY CLUB

Featuring MC Martin Mor, Jenny Collier, Elaine Roberston and Kai Humphries // Hartlepool Town Hall Theatre

LOVELY ASSISTANT

Americana and new wave // Bobik’s, Newcastle

UKRAINE BENEFIT

Featuring performances from Lords of Ruin, Gwailo, Scarred By Truth, One Million Motors and other heavy rock artists // NE Volume Music Bar, Stockton

COMEDY at ARC ARC | STOCKTON ON TEES | TS18 1LL | 01642 525199

www.arconline.co.uk

JACK CARROLL

BOBBY MAIR

THUR 5 MAY

FRI 6 MAY

RICH HALL’S

WITH MC MATT REED AND SPECIAL GUEST LIAM FARRELLEY

A WALK IN PROGRESS

HOEDOWN DELUXE

COCKROACH

THUR 12 MAY

+ DON’T FORGET T FRIDAY OF EVERY MONTH LAS

FRI 27 MAY | FRI 24 JUN | FRI 29

JUL

GRAYSON PERRY: THE VANITY OF SMALL DIFFERENCES Saturday 9 April to Sunday 5 June 2022

An Arts Council Collection National Partners Programme Exhibition

Booking essential. FREE tickets available on sunderlandmuseum.org.uk

S p o nso r lo go s a n d cre d it i ng

S p o nso r lo go s a n d cre d it in g

All logos including the Arts Council Collection, British Council, Arts Council England, Artfund, Sfumato Foun

All logos including theshould Arts Council Collection, British Council, Arts Council Sfumato Foundation, Partners logos be included on intro panels, marketing and England, publicityArtfund, materials sized A5 or bigger Cha with Partners logos should be included on intro panels, and publicity materials sized A5 or bigger with the full cre Materials A5 or smaller should include the marketing written credit. Materials A5 or smaller should include the written credit.

S p o nso r lo go s a n d cre d it i n g

All logos including the Arts Council Collection, British Council, Arts Council England, Artfund, Sfumato Foundation, Channel 4 and Alix Partners logos should be included on intro panels, marketing and publicity materials sized A5 or bigger with the full credit (below). Materials A5 or smaller should include the written credit.

Grayson Perry, The Agony in the Car Park (detail), 2012, Wool, cotton, acrylic, polyester and silk tapestry, Edition of 6 + 2 AP, 200 x 400cm. © the artist. Gift of the artist and Victoria Miro Gallery with the support of Channel 4 Television, the Art Fund and Sfumato Foundation with additional support from AlixPartners

Full written credit

Arts Council Collection, Southbank Centre, London and British Council. Gift of the artist and Victoria Miro Arts Collection, Southbank Centre, Council. Gift of theadditional artist andsupport Victoria Miro Gallery withCouncil the support of Channel 4 Television, theLondon Art Fundand andBritish Sfumato Foundation with Gallery with the support of Channel 4 Television, the Art Fund and Sfumato Foundation with additional support from Alix Partners.

from Alix Partners.

REVIEWS

ZELA by Sam Wall

CHVRCHES @ O2 CITY HALL, NEWCASTLE (15.03.22) Words: Ali Welford Having visited on every album tour to date, fans in Newcastle have enjoyed a bird’s-eye view of CHVRCHES’ progress over the past decade. This fourth edition finds a trio newly at ease in their own skin, having seemingly overcome the compulsion for bigger venues and higher festival slots which wrought diminished returns on previous records Every Open Eye and Love is Dead. It’s also by some distance their most ambitious turn yet. The sound is noticeably beefed-up, not only by the recent addition of live drummer Jonny Scott, but also by the evolving roles of Iain Cook and Martin Doherty, who now spend as much time on bass and guitar as they do behind their synths. Lauren Mayberry, meanwhile, knowingly channels the ‘final girl’ trope underpinning last year’s return-to-form album Screen Violence, arriving in a gleaming red frock before ending the night – via a series of costume changes – drenched in slasher-style fake blood. Of course, this newfound performative streak would hold little weight without the material to back it up. Fortunately, it’s in this department that CHVRCHES circa ’22 make the strongest impression of all. In fact, virtually all of tonight’s high points are new songs – the likes of Good Girls, Final Girl and the career-best How Not To Drown showcasing a revitalised group who are finally marrying big-pop designs with the individualistic zest which first accented their breakthrough.

ZELA @ THE CLUNY 2, NEWCASTLE (19.03.22) Words: Leigh Venus Long-delayed and feverishly anticipated, ZELA’s inaugural Newcastle headliner saw the magnetic brat-poppers annihilate a fat-free set that scorched the paint clean off The Cluny 2’s walls. Hailing from an alternate timeline where the eighties won, and everything is going to be alright, ZELA eschews shallowly aping the decade in favour of a bullet to the heart channelling of the era’s vibe – all driving basslines, galvanic guitars and soaring synths. Kicking off with fuzzy bopper Sleep Real Bad, the show was a victory lap for the tunes that have seen this four-piece hoover up fans; thrashy new songs I Want Attention and Chaos Queen settling in nicely amongst John Hughes teen movie anthem-that-never-was Lemonade, and the

lush Sober Lovin U. Somehow already-iconic, singer-songwriter Liv Griff is a fire-spewing comet of a thing, wrapped in PVC, smeared in eyeliner and here to burn down your whole life. Captivating, irrepressible and with a voice to die for, Liv’s soaring presence is anchored by brother Max shredding drumsticks in another dimension to give ZELA the heart-pounding, propulsive momentum that made this whole thing feel like it was over in minutes. Future anthem High Wasted Genes closed before a stellar encore with I’m Healing, and healed we all felt after the sublime ride this electric bunch never fail to deliver.

THIS IS THE KIT, MATTHIEU BOOGAERTS @ THE FIRE STATION, SUNDERLAND (10.03.22) Words: Andrew Thompson Wandering through the brilliant Sunderland Fire Station’s brick and terracotta lobby into the auditorium, still so new it smells of freshly sanded plywood, we’re greeted by Matthieu Boogaerts. A sort of avant-garde Paul Simon, the veteran singer performing in French and English commands your attention with his often semi-theatrical, whimsical oeuvre and songs which are far wittier than than most could master, even in their mother tongues. Just a few nights prior, Kate Stables was walking on stage at the Royal Albert Hall. It’s testament to how loved her body of work is that she can fill such prestigious venues, but as the delicately cascading vocal of opener Solid Grease is filled out by the band there is something about a more intimate space that still feels a better fit. 2020’s Off Off On hasn’t yet seen many live shows (for obvious reasons) but as Stables and band move effortlessly back and forth through material old and new, songs like This Is What You Did and Was Magician more than hold their own alongside old favourites from Moonshine Freeze and Bashed Out. As ever, Stables weaves the evening together with utterly endearing chats about, among other things, new shirts and the hierarchy of Greggs establishments. An encore of Two Wooden Spoons and Keep Going is a perfect microcosm of the evening. In hard times people need a finely balanced cocktail of melancholy, catharsis, hope and humour and few, if any, artists manage this as well as This Is The Kit.

LIVE

Stormzy by Adam Kennedy

STORMZY @ UTILITA ARENA, NEWCASTLE (15.03.22) Words: Adam Kennedy Turn back the clocks to 2019, and Stormzy was bestowed the honour of wearing a Union flag vest designed by Banksy during his headline Glastonbury set. Similarly, at the artist’s first North East show since 2017, the South London rapper proudly sported a black and white Newcastle United shirt during an energetic rendition of Shut Up – if there is one way of winning over a Tyneside crowd, wearing a Toon shirt will do it. During his 90-minute set, Stormzy showcased the many different sides of his artistry. The soulful R&B sounds of Do Better, One Second and Cigarettes And Cush, along with a beautiful gospel-tinged airing of Blinded By Your Grace, Pt. 2, are a testament to this. No expense was spared on the artist’s arena stage set. However, the pyrotechnics were not the only bangers on display, with the likes of Vossi Bop and Big For Your Boots providing additional fireworks during an already explosive set. This may be the second night of the UK hip-hop artist’s debut arena headline tour, but he looks very comfortable in this environment. Covid may have delayed the tour by two years, but based upon this performance, Stormzy’s first show on Tyneside in five years was certainly worth the wait.

TEN EIGHTY TREES, ABNORM, HOLDING OUT @ INDEPENDENT, SUNDERLAND (05.03.22) Words: Jake Anderson Energetic rockers Ten Eighty Trees strutted onto the stage at Sunderland’s Independent, drumming up an atmosphere of good vibes. This trio of lads in all blue maintained an exciting level of momentum for the duration of their set, never dropping the ball once – dropping one bombastic anthem after the next. The band’s sound frequently deviated from alternative-inspired rock to a more thrashy sonic environment. That doesn’t mean the whole set was intense, as there were plenty of moments of laid-back fun, mostly to be found in the band’s covers of both Taylor Swift and Foo Fighters.

But by the end of the night, their bold and lively performance created mini mosh pits, shaking the whole of Independent. Earlier in the evening, support artists Holding Out flaunted deep and thumping instrumentation, with excellent drumming. The lightshow that accompanied the band started the night strong, manufacturing a boisterous soundscape and atmosphere that lasted until Ten Eighty Trees took their last steps off the stage. Following Holding Out were Abnorm, brandishing their signature sound of lo-fi infused rock. The group had a fun stage presence, playing easy-going bangers like Citrus.

EMMA-JEAN THACKRAY, MARIA CHIARA ARGIRÒ @ SAGE GATESHEAD (04.03.22) Words: Mark Corcoran-Lettice Having appeared as a lead or featured artist across a variety of projects within the jazz sphere over the last decade, Maria Chiara Argirò’s performance tonight ahead of her upcoming album Forest City finds her staking out her own identity. Leading her trio with her synthesiser and sampler set-up, the music previewed here owes at least as much to the luscious pulse of early Caribou or the spacious art pop of Julia Holter as to any more traditional influence, with aqueous chord sequences, looped vocals and heightened percussion ruling the roost in this exciting opening set. Touring in support of last year’s debut album Yellow, Emma-Jean Thackray’s droll sense of humour is paired with a keen sense of musical ambition. Despite still struggling with illness, Thackray leads her band with aplomb, using the likes of Golden Green and Venus as launchpads for some high-energy fusion workouts that the audience absolutely laps up (with a special note of praise for Lyle Barton’s consistently sparkling Rhodes workouts). If there’s a slight surprise that the show features relatively spare showings for Thackray’s trumpet playing, her talents as a bandleader are on full display throughout, conjuring the grandest sound possible from a stripped-back format. Closing out with a sweaty, committed Our People, there’s plenty that lingers in the memory from tonight’s performance – not least that this set-up is destined to win a new following come festival season.

LIVE

Benefits by Idene Roozbayani

ENOLA GAY, YABBA @ HEAD OF STEAM, NEWCASTLE (06.03.22) Words: Dominic Stephenson A wealth of noise had amassed at the Head of Steam for Enola Gay’s inaugural visit to Newcastle. Little was known about support band YABBA, except their Instagram revealing that the Dumfries five-piece had recently changed their name from Franky’s Evil Party. Drenched in Buckfast and rum, this discordant opener was woven together by contorted guitar, feverish sax, distorted howls and scuzzed-out, chugging rhythm. Echoes of the slippery, hard-blues imprinted by Glaswegian forbearers The Amazing Snakeheads were unmistakable. Other than some unnecessary, misogynistic gesticulation from the frontman, it was a terrific warm-up for what was to come. Enola Gay are a band that don’t piss about. Their debut single, The Birth Of A Nation, is a sobering anthem for our times and they haven’t looked back since. They unleashed debut EP Gransha through a flurry of serrated and hacking grooves, with their outspoken politics consistently pinned to the forefront. The pulsing set-list included wallopers Salt and Through Men’s Eyes, as well as the surprisingly tender new track Cold. They specialise in thudding riffs and thrashing drums, with an embedded bassline completing the gnarly soundscape. Frontman Fionn Reilly was at the thick of the maelstrom, his furious, rap-charged vocals always seeming hell-bent on puncturing the walls at any given moment. Enola Gay are riding atop the crest of fine noise acts currently pouring out of Ireland; their next movements should be watched with great intensity.

CEITIDH MAC, KATIE GRACE @ THE ENGINE ROOM, NORTH SHIELDS (10.03.22) Words: Luke Waller Where The Beatles began the intermingling of classical instruments with avant-garde pop, and where Nick Drake and his fellow psychedelic folk artists cultivated a blend of traditional folk with the rhythmic grooves of jazz and blues, this is the awe-inspiring corner of music in which Ceitidh Mac’s work may be found. But something separates her from these other artists: the striking modernity of her sound. It was this sound which saturated every nook, cranny and earhole of North Shields’ intimate Engine Room. Ceitidh Mac was accompanied by a local young folk singer-songwriter and multi-instrumentalist Katie Grace, who provided the support act with an array of her balladic compositions. Some told stories of members of the audience (although pointedly not her mum), but all

were transfixing in their ukulele-plucking daintiness. Though a drummer short of the usual three-piece, Ceitidh Mac’s set was spellbinding from the first commanding cello thrum to the last tenor guitar strum. Every song from her two EPs was played, along with her latest single, Goldfinches, and covers of Joni Mitchell’s magical Woodstock, Nick Drake’s lamenting Know and Nina Simone’s formidable Feeling Good. Alongside vibraphonist (or, more appropriately, vibist) Will Hammond, the duo captivated the room with their unmistakable, dream-like sound. It is rare to feel truly transported, without exaggeration, by a live performance, and this was one such occasion. Through the mind-bending twist-turning rhythms of Bus Station and Window Scene, the elating elegance of Birds and Dragon’s Out – Ceitidh Mac’s music is both homely and otherworldly, and even more so in live performance.

BENEFITS, AMATEUR TREPANNING @ HEAD OF STEAM, NEWCASTLE (26.02.22) Words: Conor Roy It’s not often I would go and see an artist without familiarising myself with their music beforehand, but through an incredible skit-driven advertising campaign wherein vocalist Kingsley Hall appears to be calling someone on the phone for help after receiving Tweets advising they’d “rather watch their dog get run over” than watch Teesside’s Benefits, how could I resist? They’re joined by four-piece Amateur Trepanning, who opened proceedings with Kraftwerk-esque synths, four-to-the-floor drums, grooving cyclical bass lines and spoke/sung vocals offering witty observations about the state of things. Highlights are Coast Guard and closer Church Hall/Bingo Hall, drawing parallels to post-punk contemporaries Dry Cleaning in both style and delivery. What followed was something truly special. It’s hard for me to pinpoint Benefits’ ‘sound’, but at best attempt it’s something like ‘industrial, experimental, hip-hop influenced noise punk’ – put more succinctly, it was Kingsley Hall taking apart the Head of Steam brick by brick armed only with a microphone, an Umbro pullover and a bottle of fruit juice. The show was a triumph, the crowd hung on the band’s every word. Highlights were Empire and Flag, as Benefits personified that frustrated and angry voice inside all of our heads when we pick up a newspaper and think “what the hell is actually going on?” It was cathartic, relentless, unifying and unmissable.

TRACKS

DAYNA LEADBITTER TIME’S UP Words: Jake Anderson Late last year saw the disbandment of promising North East group, Badmind. But before we could even shed a tear, Dayna Leadbitter has already made her grand return to the North East scene. Time’s Up is a confidently performed debut track, with an R&B inspired vocal performance that flows perfectly with the stomping instrumentation. The groove in particular provides the track with a sense of the grandiose, making Leadbitter’s lyrical statements more impactful. It builds from a monumental sounding loop at the opening of the song, graduating to an attention-grabbing guitar solo. I’d love to see Leadbitter find the limits of her vocals, experimenting with them in the production of future tracks. Released: 01.04.22 www.liinks.co/daynaleadbitter

MICHAEL T OGILVIE THE WEATHER Words: Michael O’Neill An imaginative and perceptive slab of poptimism that goes to task on the all-consuming side effects of an addiction to social media, The Weather is breezy, melodic, direct and as engaging on a cerebral level as it is on the feet. The artist considers the song to be a reminder of the eternal possibility of silver linings even in the darkest of times, with the succinct and poignant lyrics wasting no time in getting straight to the point with confidence and personality, whilst still taking care to craft a convincing narrative and sneak a good hook in too. All in all, it’s an engaging and enthralling piece of songcraft that is as infectious as it is introspective. Released: 01.04.22 www.michaeltogilvie.com

REVIEWS OF SINGLES AND EPS BY NORTH EAST ARTISTS. WANT YOUR MUSIC FEATURED? EMAIL NARCMEDIA@GMAIL.COM (PLEASE TRY TO GET IN TOUCH 8-6 WEEKS AHEAD OF THE MONTH OF RELEASE)

INDIA ARKIN WHAT YOU CALL HOME Words: Hope Lynes India Arkin brings an angsty lyrical twist to her summery new track What You Call Home. The storyline tells a painfully honest tale of home and growth within a “place like this, cuts off hope”, twisted with a naivety which creates a really interesting and thoughtful listening experience to reflect on. The track is heightened through the beautiful depth to India’s voice, uniquely layered into the soundscape. The backing on this track compliments India perfectly, and takes her singer-songwriter status to a really effective new level as a rockier prospect. This fun song is perfect for summer; light to listen to, yet laced with curious and meaningful lyrical dilemmas. Released: 22.04.22 www.twitter.com/indiaarkin

MELT ENGINE EP Words: Adelle Sutheran Melt are a Newcastle-based trio who describe themselves as grunge and they serve up this little gem of an EP, Engine. It’s not my usual cup of tea, but if these tracks were to come on my playlist, I wouldn’t skip them. There are elements of Rage Against the Machine and Pearl Jam present. I bloody love guitars and this has plenty of that; Recall, is slower in pace and feels more vocal led, while Sweet, for the most part, feels hazy and chill. Violence makes the most of the rhythm section and has plenty going on to keep me occupied and interested, and closer Blu bangs the same drum against the other tracks. I can see this EP being a banger in the mosh pits. Bravo lads. Released: 13.04.22 www.linktr.ee/meltuk

MECANIQUES NOBODY LIKE YOU Words: Adelle Sutheran This track is essentially an electronic house ensemble created and produced by Jordan and Jack from Motorhouse Studios/Vandebilt fame. I cannot refrain from telling you that this has summer Ibiza vibes, all over it. It wouldn’t be misplaced as the backdrop in a bar ‘round town either. Reminiscent of Daft Punk in both sound and distorted vocals, it’s a really accomplished track which more than proves these guys really know their craft. Upbeat, light and airy in sound, while being easy on the ear and flowing well right through to the end which, incidentally, I felt came too soon and left me wanting more. The lyrical content is a bit predictable, although don’t get me wrong, totally appropriate. Did I tell you I love synths? Released: 15.04.22 www.mecaniques.bandcamp.com

BAD AMPUTEE RABBITS Words: Michael O’Neill A thick wall of hazy garage guitars lay the foundations for this marvellous slab of imaginative motorik rock from the Newcastle-based trio. The track finds bassist/vocalist Claire Welford and drummer Robin Fry locking into guitarist/ vocalist Phil Tyler’s hypnotic, open-chord riff with a solid rhythmic bed that acts a brilliant driving force for the vocalists’ gold-dipped harmonies. The lyrics are full of abstract imagery, with that delightful Alan Sparhawk/Dean Wareham quality of conjuring up vivid images in the mind without ever being overwrought or heavy handed. It’s a confident and immaculately crafted release from a trio with a solid command for pushing the classic guitar-bassdrums format into imaginative and unorthodox frontiers. Fantastic. Released: 01.04.22 www.badamputee.bandcamp.com

GEOFF MULL DRUNK IN LOVE Words: Michael O’Neill Eight years since a stint on The X-Factor catapulted Gateshead’s Geoff Mull into the public eye, the independent singer-songwriter has on been quite the journey. One listen to Drunk In Love is enough confirmation as to why he’s still making waves even after that fateful brush with super-stardom. Clocking in at a breezy four minutes, the track is a pristinely produced showcase for Geoff’s talents as a stadium-ready vocalist, and a brilliant display of his command of a high-sheen pop hook. The song is pure pop at its finest, with every square inch of the arrangement being crammed with sophisticated melody and controlled bombast, with the heart-on-sleeve lyrics being a perfect match. Released: 08.04.22 www.facebook.com/geoffmullofficial

THE WHIPPET BEANS ICEHAWK Words: Luke Waller Whoever you are, wherever you come from, nothing can prepare you for the power and grandeur of The Whippet Beans’ rock-operatic Icehawk. This epic tells the captivating tale of a boy rescued from the sinking Titanic by a polar bear, raised by Arctic creatures, before becoming the greatest vigilante superhero of our time, bringing robbers and thieves to justice… it goes on. They say DC and Marvel are preparing to fight for the rights to make the film as we speak. Heralded by gentle acoustic guitar, a picture of bardic types around their campfire at night is painted before launching into heavy choruses, packed throughout with passionate solos. Encounter the might of Icehawk’s spirit in concert at Newcastle’s Little Buildings on Saturday 2nd April. If ye dare! Released: 01.04.22 www.thewhippetbeans.co.uk

FAYE FANTARROW ANGELS Words: Luke Waller Initially lucent and innocent, the track soon begins to unfold, displaying the vast array of moods and emotions conveyed in this masterfully composed piece. Faye Fantarrow’s new track clearly draws inspiration from alt. pop idol Billie Eilish; from the sinister undertones and the biblical imagery of angels and devils, to the slurred vocals and groovy synth accompaniment, there is certainly some common blood between the two. Produced by the legendary John Ashton, who has worked alongside Arctic Monkeys, The Prodigy, Tame Impala and more, Fantarrow has been tipped as One To Watch 2022 by BBC Introducing North East and has a busy year ahead, with dates booked at festivals such as Lindisfarne and Stockton Calling. Released: 29.04.22 www.bit.ly/fayefantarrow

CHARTS AND GRAPHS X MARKS THE MAINSTREAM Words: Hope Lynes Addictively catchy with an energetic chorus that remained in my head well after the first listen, the brand new track from Charts And Graphs, X Marks The Mainstream, is an extremely fun listen. The soundscape is very vintage, in that it masters a blend of the 00’s indie of Maxïmo Park and experimentative rock from the likes of Talking Heads. The vocals are confident and tell a cynical but touching storyline, rooted in the music industry, but exploring how there are “no more close relationships, it’s just me and you”, whether this be a personal relationship or about industry contracts in the mainstream. The dual meaning between music and personal love is a really interesting blend that this song nails, both in its lyrical craft and very well produced sound. Released: 01.04.22 www.linktr.ee/chartsandgraphs

TIRED OF FIGHTING CHOCOLATE Words: Tom Astley Chocolate, the third single by Newcastle’s alt. rock band Tired of Fighting, melds a disarmingly bouncy, sunny sound with lyrics that examine the disconnect between a beautiful summer’s day and feelings of depression. Chocolate gives the summer sun back its palpitations and dread with disconcerting melodiousness. The vocals are particularly noteworthy, lilting melismas at the ends of phrases in a manner that elevates the track above stock emo hoarse shouting. Musically, the track sways in 6/8, ebbing and flowing through beautiful distortion and a capella breaks, all pushing to a coda that offers a disquietingly prescient line: “with nuclear intent, the sun is like a death ray”. Canny on the nose for this springtime of uncertainty and disquiet. Released: 02.04.22 www.linktr.ee/tiredoffighting

CMP SMOKER Words: Tom Astley CMP’s new track Smoker takes a sardonic look at the performances that happen off stage in audiences, imagining a conversation between a jaded protagonist and an oblivious, posing gaggle of gig goers. The lyrics are equal parts funny and introspective, and coupled with the paired down electro backing, give an almost melancholic feel. CMP has crafted a sound that evokes the Pet Shop Boys, in the arpeggiated synth parts, minimal electric drum rhythms, the laconic vocal style and the self-deprecating lyrics that recognise the scuzzier side of hedonistic party life. There’s also an assured bedroom-recording vibe running through the song too. A great antidote for anyone thinking they’ve missed standing in crowds at gigs. Released: 29.04.22 www.instagram.com/sammyiscmp

DEMOS WE WANT YOUR MUSIC!

IF YOU’RE AN UP AND COMING BAND OR MUSICIAN, AND WOULD LIKE YOUR MUSIC REVIEWED IN OUR DEMO SECTION, EMAIL A TRACK TO NARCMEDIA@GMAIL.COM AND TELL US MORE ABOUT YOURSELF! WORDS: TOM ASTLEY

DEMO OF THE MONTH

No One Likes Us! – (You’re A) Loser The polished, digital perfection of this month’s demos are firmly put in their place by the fractious punk drone of No One Likes Us!’s track (You’re A) Loser. Recorded at Chilli Studios in Byker, No One Likes Us is a collaboration between punk singer Sandy Davidson and Baghdaddies guitarist Ziad Jabero. There’s a little of Jello

Cam Iyell – Come My Way

Cam Iyell’s new track Come My Way gives an assured measure of RnB. Influenced by Cam’s African and South American heritage, the track adds the now-ubiquitous reggeton drum beat to a sophisticated palette of sounds. With a verse in French, the track slips through multiple influences, whilst staying securely within the RnB-inflected pop world. www.facebook.com/camiyell

Matthais Proud – Take Two

There’s some impressive verbal gymnastics from Tow Law rapper Matthais Proud on his new track Take Two. The beat here is a kind of generic heavy hip-hop track, shaking sub bass and pizzicato synth strings. Equally, some of the lines offer a kind of bravado and boast that sounds familiar and rings a little hollow. But

Biafra’s tremulous vocal here, and with an almost hypnotic guitar part, there’s an air of The Stooges in there too. The vocals phase around the repeated phrase of the title, never quite perfectly in sync, but all the more perfect for it. There is something about the deliberate liveness of the sound here, the sentiment of the song shining through over the need for post-production perfection, that makes it the standout demo of the month for me.

Matthais’s flow, dexterous and syncopated, using the kind of triplet rhythm rap of Migos etc., shows a technique that warrants multiple listens. Equally, there are some more personal lines in there that made my ears prick up, and help lift this track above the realm of generic hip-hop. www.instagram.com/matthias_proud

Katie C – Heroes

Katie C began writing songs during the lockdown in 2020, and so for her to be this accomplished this quickly is frankly unfair. New song Heroes has an air of Fleetwood Mac about it. It lilts along with that easy Americana backbeat, shimmering electric guitars, and Katie’s unornamented, pure voice ringing through. The song isn’t quite as straightforward as it sounds though, with a

really compelling key change from verse to chorus that makes multiple listens necessary. At a shade over two and a half minutes, it’s a perfect early summer indie pop track. www.instagram.com/katie_c_music_

Emily Bosher – The One The One by Emily Bosher is a heartfelt break-up pop song. Layered heartbreak harmonies over piano chords, accompanied later in the song with sweeping strings give more than a nod to Adele. But the second chorus pushes a little more distorted than Adele would, and this gives the song more bite than you might expect at the outset. www.facebook.com/emzibosh

ALBUMS

ALBUMS 4/5

BRB>VOICECOIL DISSOLVE INTO THE NOW (MUZA)

4/5 Image by Ward & Kweskin

FATHER JOHN MISTY CHLOË AND THE NEXT 20TH CENTURY (BELLA UNION)

Words: Jamie Lunnon Sampson has cut his hair. Though his beard grows on, Josh Tillman has lost the cascading locks and tinted shades. His fifth studio album, Chloë And The Next 20th Century, follows the demythologising started on God’s Favourite Customer. His characteristic self-mystification continues – he is still ‘Father John Misty’, but he has lost the self-absorbed Weltschmertz of his older work. He has lost his hair, but not his strength. Tillman’s new album relaxes into symphonic cruise control, allowing the string section to easefully wheel and fall and indulging Wayne Bergeron’s trumpet and Dan Higgins’ sax. Tasteful jazz piano trickles beneath folky finger-style guitar whilst Tillman’s smooth vocals command the dance. The wit remains. Rolling piano and ballroom string-arrangements in Chloe accompany “her soul is a pitch-black expanse”. The incongruity of lyrics and music is funny and self-aware, as is the Sinatrian closing line: “took a leap into Autumn’s Leaves”. The album is underpinned by nostalgia and future uncertainty. “Don’t the last time come too soon”, he asks in Goodbye Mr Blue, and marinades it in JJ Cale-esque country guitar twangs. Romance and existence tussle throughout. Kiss Me (I Loved You), with its wobbly vocals is hopeful but dressed in melancholic tones. The tension between past and future is reflected in the title – The Next 20th Century. How does that even work? This duality matches the album’s stylistic shift. Q4 thumps in with its upbeat rhythm and theatrical orchestral jangle, before the bossa nova of Olvidado (Otro Momento). Funny Girl gets cinematic and slightly absurd; Tillman comments “you’re young baby but you’re not getting any younger”. Only A Fool sustains this cinematicism, cartoony in instrumentals and croony in vocals. This is 50s America now. But we’re left chin-scratching; the atmospheric, unsettling closing track The Next 20th Century shows Tillman’s romantic yearnings taking a hostile shape. The guitar goes into overdrive, the rhythm is tango-like and the uncertainty becomes existential: “everything’s in transition, everything must change” but “things keep getting worse while staying eerily the same”. Maybe Tillman’s message isn’t as hopeful as we thought: “come build your burial grounds on our burial grounds...you won’t kill death that way”. Tillman is elusive as usual. But the main message is pretty simple: “no one is really better off alone” and this inclusive, playful and connective album proves it. Released: 08.04.22 www.fatherjohnmisty.com

ALSO OUT THIS MONTH Fontaines D.C. – Skinty Fia (Partisan Records, 22.04) // The Regrettes – Further Joy (Warner Records, 08.04) // Tempers – New Meaning (DAIS, 01.04) // Astrel K – Flickering I (Duophonic Super 45s, 29.04) // Real Lies – Lad Ash (Unreal, 22.04) // Dana Gavinski – When It Comes (Full Time Hobby, 29.04) // Horace Andy – Midnight Rocker (On-U Sound, 08.04) // Reigns – Tollinghurst (Wrong Speed Records, 15.04) //Honeyglaze – S/T (Speedy Wunderground, 29.04) //Cancer Bats – Psychic Jailbreak (Bat Skull Records/New Damage Records, 15.04) // The Linda Lindas – Growing Up (Epitaph, 08.04) // The Waterboys – All Souls Hill (Cooking Vinyl, 22.04) // Jack White – Fear of the Dawn (Third Man Records, 08.04) // Bob Vylan – Bob Vylan Presents The Price of Life (Ghost Theatre, 22.04) // Crake – Humans’ Worst Habits (Fika Recordings, 08.04) // Deer Scout – Woodpecker (Carpark Records, 08.04) // Jon Spencer & The Hitmakers – Spencer Gets It Lit (Bronzerat Records, 01.04) // WHORSES – S/T (Labelman, 15.04) //Good Looks – Bummer Year (Keeled Scales, 08.04) //Girlpool – Forgiveness (ANTI- Records, 29.04)

Words: Lee Fisher Newcastle’s Kevin Wilkinson has been making music in various guises for almost 30 years now, and his latest release as brb>voicecoil is another fascinating and unsettling collection. Sounds here were generated from field recordings and processed by a pair of iPads – certainly there’s nothing immediately obvious as a field recording left in these seven tracks; instead there’s a general air of glorious malfunction, hints towards fractured rhythms (particularly on Sci-Vias Domini 1 and Nod To The Mu), and once-identifiable noises being fed through some sort of table-top black hole, crushed and mangled and compressed beyond recognition. That tracks like The Fact That It Was Removed... and the opening The Great Antagoniser somehow attain a broken, melancholy loveliness probably says something about my listening habits. Released: 08.04.22 www.brbvoicecoil.com

4/5 PINK POISON VERSUS THE WÜRM (SELF-RELEASE) Words: Robert Nichols They light the fuse, it is a short fuse, so stand back quickly...run for cover, dive for safety...no time...too late... Pink Poison have exploded onto the scene with a scattergun of short, sharp, seismic shocks. Guttural guitars growl, pneumatic drumming, vocals spat out from a mouth of hot gravel. This gloriously OTT, alt. post-punk garage blues has been rocket launched from somewhere beneath a post-apocalyptic Tyneside. Bedlam! Oozing out of an opened hole like a weeping sore. Slaying monsters. Screaming over speedbumps. Sprung from Hell. Everywhere contesting. Infesting. Cartoon comic capers. Gaming. Framing. Supernatural. Any last requests? A glorious, uproarious Captain Beefheart-ian funer-real finale, When I Die. The Pink Poison four have left their stain and the Würm has Turned. Released: 29.04.22 www.pinkpoison.bandcamp.com

ALBUMS

3.5 / 5

4.5 / 5

SCALPING VOID (HOUNDSTOOTH)

KATHRYN JOSEPH FOR YOU WHO ARE THE WRONGED (ROCK ACTION RECORDS)

MELODY’S ECHO CHAMBER EMOTIONAL ETERNAL (DOMINO)

Words: Ali Welford Spawned from Bristol’s ever-fertile underground ecosystem, SCALPING’s rise has been built on a formidable live presence; a fiery fusion of industrial techno, razor riffage and striking animations, the latter an in-built component as vital as the sounds themselves. With their very existence centred on bridging disparate live cultures, it’s perhaps inevitable – and certainly no shame – that this full-length bow should carry the air of a highly polished demo as opposed to a fully-realised statement of intent. This isn’t to say that Void doesn’t provide thrills of its own. Improvised verve may be absent, but when the likes of Silhouettes and Over The Walls get going their bobbling metallic grooves still generate a scorching head of steam. Seriously though – go see SCALPING live. Released: 29.04.22 www.scalping.bandcamp.com

Words: Ali Welford A songwriter of rare heart-stopping power, Kathryn Joseph returns with her third consecutive stunner, having already trumped her Scottish Album of the Year winning debut with an even more extraordinary sophomore. Swapping piano for keyboard, ...wronged’s lighter, almost whimsical timbre sharply juxtaposes perhaps her rawest undertaking to date: an 11-song cycle dedicated to victims of abuse – be it of power, love or access. It’s a collection rooted in both compassion and personal experience; its sparsity reflecting its subjects’ isolation; a simmering, barbed band of anger divulging the pain wrought through violation. There’s hope amidst the horror, but this is another heavy, heart-rending listen, and further testament of Kathryn Joseph’s place among the UK’s most visceral contemporary voices. Released: 22.04.22 www.kathrynjoseph.co.uk

Words: Mark Corcoran-Lettice After a period spent away from the music industry, Melody Prochet makes a very welcome return with her third album, Emotional Eternal. Utilising Reine Fiske of Dungen as well as Fredrik Swahn of The Amazing as her studio collaborators, Emotional Eternal offers a more straightforward and accessible take on Prochet’s baroque neo-psychedelic pop than the remarkable collage of Bon Voyage whilst still building on that album’s diversity of sounds and arrangements. Where The Water Clears The Illusion and A Slow Dawning of Peace are amongst the most directly impactful and emotional pieces Prochet has written to date, while between the sharp grooves of Pyramids In The Clouds and the Gainsbourg-ian closer Alma_The Voyage, her already expansive musical universe grows ever more all-encompassing. Released: 29.04.22 www.melodysechochamber.com

4.5 / 5

5/5

4/5

FIELD WORKS STATIONS (TEMPORARY RESIDENCE)

PILLOW QUEENS LEAVE THE LIGHT ON (ROYAL MOUNTAIN RECORDS)

WARMDUSCHER AT THE HOTSPOT (BELLA UNION)

Words: Lee Fisher Every new Field Works album comes with a new concept. Every new Field Works album is a thing of beauty. This time around, Stuart Hyatt has worked with scientists and seismologists to capture recordings of the actual earth in movement – its rumblings and shifts – to which he’s added his own instrumentation and a slew of guest vocalists and musicians (including the likes of Laraaji). The result is pretty magical. Fathoms deep bass drops, ethereal vocals, skittering beats and synth washes all underpinned by those astonishing recordings. Some of the tracks could almost work in a (particularly open-minded) club environment, others are more fragile, but the whole thing is worth getting lost in. Check out the array of remixes too, there’s some gold to be found. Released: 01.04.22 www.fieldworks.bandcamp.com

Words: Paul Brown Pillow Queens’ debut In Waiting is one of those records which is so good that it made me a little nervous for its follow-up. How do they follow that?! Well, somewhat wisely, they’ve not tried to remake it. And while that means a little less straight-up shredding this time out, Leave The Light On represents a step forward musically. It’s beautifully put together, from the slow, slinky groove ride of House That Sailed Away, to the foreboding chords of Delivered, it’s clear this is the sound of a band growing. Crucially though, the deft turn of phrase which characterised In Waiting remains as sharp as before. A wonderful second album from a band with a lot left in the tank. Released: 01.04.22 www.pillowqueens.com

Words: Lee Hammond Another instalment of madness from one of the best party bands around, this melting pot of songs lacks coherence but makes up for it in spades with funk-laden grooves and techno beats. Tracks like Twitchin’ In The Kitchen feel similar to John Grant, whereas Super Cool would be more at home in a dingy nightclub, and interludes like Double Vision compound the party mania of the album. Where At The Hotspot really comes alive is on tracks like Baby Toe Joe and Wild Flowers, which augment their off-kilter lyrics with a perpetual funk soul groove that is wholly infectious. It’s a raucous ball of energy of an album with an unrelenting party vibe that leaps out from every crevice. Released: 01.04.22 www.warmduscher.bandcamp.com

ALBUMS

4/5

4.5 / 5

4/5

KAE TEMPEST THE LINE IS A CURVE (FICTION RECORDS)

WALT DISCO UNLEARNING (LUCKY NUMBER)

LOOSE FIT SOCIAL GRACES (FAT CAT RECORDS)

Words: Robin Webb Poet, musician and keen observer of the human condition, Kae is moving on, healing, breaking, never linear but curved as they continue to flourish lyrically and musically, building confidence and self-belief resulting in “less push more flow”. Kae says “it’s about letting go of shame, anxiety, isolation and falling instead into surrender”, accepting lovingly the multiplicity of a life well-versed. Tempest collaborates with Kevin Abstract, Grian Chatten of Fontaines D.C. and Lianne La Havas among others, producing a diversity of urban styles from the established to refined textures of rhythmic experimentation that serves to accentuate the spoken imagery, enhancing our empathy whilst immersed in its fullness as Kae maintains “there’s still time” to “tune into something more deep”. Released: 08.04.22 www.kaetempest.co.uk

Words: Robin Webb A pomposity of Sparks-inflected dark glam, musicals and glitter-drenched mini-skirts as seen through kaleidoscopic starry shades lit by mirror balls and sleazy neon. Chock full of gender fluid audacity, How Cool Are You is a clear highlight with its leather jacket and fringe that kills; it’s appropriately followed by the anthem to a hard handsome youth, Cut Your Hair. Altogether, Unlearning is mostly an unyielding twisted Pet Shop Abba-camp drama in two acts, separated by the incongruous and wordless Costume Change, which heralds a more introspective and hard-edged yet insightful second half, containing the towering Macilent and impassioned Brechtian torch-song Those Kept Close, which fully embraces its allegiance to The Associates & The Blue Nile. Magnificent! Released: 01.04.22 www.waltdisco.com

Words: Robin Webb Another fine Australian indie band delivers a strident debut, taking influences from buoyant aspects of post-punk, the danceability of no-wave, funk and dub concocting discordant sweet gems, making them assuredly a fledgling act to watch out for. Brash lead track Social Graces is tense and boppy enough to get any packed gig jumping and most of the album has a taut rhythmic anxiety that’s fresh and welcome as we try to emerge from turbulent days. Time may tarnish that outlook, meanwhile we can enjoy tracks like Enemies, that starts out with layered dissonant sax expletives building into a quintessential no-wave crescendo, and the echo-laden Potential Things, a crucial dystopian dub invariably grooving so that you can’t help but jig about. Released: 29.04.22 www.loosefit.bandcamp.com

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MIXTAPE WORDS: DONNY JEVS

Sappnin’? I’m Donny Jevs and I’ve been doing all sorts of music stuff in the North East since I was a teenager. I moved from Middlesbrough to Newcastle to study at the Academy of Music and Sound in Gateshead, where I was shown the ropes in Music Production and Business. Along with some of my mates, we put on free parties, raves and indie gigs from Tyne-to-Tees which allowed me to cut my teeth as an events organiser and gave me the opportunity to play some of my productions live (mainly dance music and hip-hop). This was a blessing as I got to see that a gap could be bridged between so-called indie kids, ravers and hip-hop junkies. I have since tried to put that knowledge to use in my own style of music, and the events I promote. Currently I work with Middlesbrough’s hidden-gem venue, Disgraceland, hosting brilliant intimate raves and gigs. My first big event is TEESSOUND Festival, at Base Camp in Middlesbrough on Sunday 17th April. With live music, DJ sets, stalls, an exhibition from the Northern School of Art and all-out decor, the venue will be transformed into an all day-and-night festival. Alongside a local creative and the Arts Producer formally known as Scribelle, TEESSOUND Festival is brought to you by Pundits Network. www.facebook.com/donnyjevsmusic

JACK FOX TIMES & PLACES

GZA 4TH CHAMBER

You’ll struggle to get a family-friendly quote out of this production – North East rapper Jack Fox’s lyrics are just too dirty – but the crisp beat by DJ A.D.S cleans the track up. I first met him doing stand-up comedy and his humour is inside his music; well worth a listen.

BRAD ROBINSON DON’T BEG FOR A FEATURE

CHEMISTRY CAN U SEE ME?

The Wu-Tang Clan were blown away when they put this track from GZA’s solo album into their live shows. RZA’s production combines a gritty hip-hop beat with a thrashy guitar groove. For some reason they thought it was going to be a laid back break in the set – instead it had crowds bouncing and moshing.

ROGER WATERS THE BRAVERY OF BEING OUT OF RANGE

Not unlike myself, Brad is a Teessider with bags of style. He recently released his debut album Catch-22, and honestly it was hard to choose one track. Luckily this starts out with a sample I can quote since everyone in ‘Boro says it whenever we experience something we like, “Aw yeah that’s mint, tha’!”

BLUE BOY REMEMBER ME This is my party tune! Unreal samples, unreal loops, unreal vocals – it’s just class.

As timeless as this song is, I’m sure the writer sees that as a terrible thing. Although it is 30 years old, the message is still just as important. We’re still no closer peace and every few years the powers that be test their strength, treating war like a computer game and casualties as commodities: “Just love those laser guided bombs / they’re really great for righting wrongs.” This is an updated version made in lockdown with a new verse that shows not much has changed in our attitudes to war, only that when it’s closer to home it matters more.

To set us up, this is the DJ that will be shutting down at TEESSOUND. Makina has been the quintessential sound of North East raves for decades and Chemistry’s sets always deliver, as does his latest remix which is set to be properly released very soon. He’s a fellow Teessider and this track is full of his textbook energy.

ALABAMA 3 WHACKED A lockdown banger that takes me back to the not so long ago days of celebrating the weekend all days of the week. Alabama 3 remain one of my favourite ever bands; they mix country and blues with acid house and techno – what’s not to love? This is just another in a long line of bangers from a unique and underrated band.

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NARC. #182 April 2022

Articles inside

TRACKS

JOHN COOPER CLARKE

THE UNTHANKS

HEATHER FERRIER

JONNY PELHAM

DUNES

CIGAR CIGAR

FIONA LIQUID

EARTH REQUIEM

COVER VERSIONS

BOB VYLAN

MIDLAKE

KOMPARRISON

LUKE ROYALTY

STOCKTON CALLING

APRIL PREVIEWS

NARC. COMPILATION ALBUM #16