June 2015 #1

new roots issue 1 June 2015

SLAM DUNK festival special

featuring Architects, THe wonder years, you me at six, while she sleeps, moose blood, and loads more Photo by Olly Hanks @ The Dude Abides Photography

faith no more the story so far don broco trash boat deez nuts

Contents

news - teef news - elegies gig listing new band -rickyfitts

are british rock bands losing their style in order to gain mainstream success? slam dunk album - faith no more Album - young kato album - the story so far SINGLE - don broco single - enter shikari single - neck deep live - capsize live - deez nuts live - make do and mend live - trash boat

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Photo by Ashlea Matthews

A Note from the team We are incredibly proud to present to you, our lovely readers, the very first issue of New Roots Magazine.

As a team, we felt that there wasn’t a publication covering the music we wanted in the way that we wanted, and

what better way to change that than to do it ourselves! In terms of the music, we want to be varied, not only in terms of the sub-genres we cover, but also in the profile of the artists themselves. A big part of what we want to include is

up and coming artists, which is why we have included a ‘New Band’ feature. This will be in each issue of the magazine, and is something we wish to expand in the future. From everyone at New Roots, I hope you enjoy this issue, and

would really love to hear your feedback, whether this is on our facebook page, via twitter, or in an email to newrootsmag@ gmail.com.

Contributors: Rosalyn Boder, Chloe Rose Eaton, Adrianne Goron, Isha Shah Photographers: Joe Brady, Caspar Brigdale, Olly Hanks, Ashlea Matthews, Bethan Miller, Dan O’Gara, Stuart Peach, Isha Shah

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All of the materialbelongs to New Roots Magazine, and may not be reproduced in whole or part without prior permission from New Roots.

news TEEF break up

gigs June: 7th Young Guns Matinee show @ The Fighting Cocks 7th A Loss For Words @ The Underworld Camden 8-9-10th Death Cab For Cutie @ Shepard’s Bush Empire 8th Young Guns @ Scala London

Photo by Dan O’Gara After just two years, Brighton’s punkers TEEF call it a day. They made a statement on their Facebook page.

“We would like to sadly announce (in true premature Punk fashion) that we are spitting up, it’s all totally amicable and on good terms... and that’s Punk right?!”

However it is not all-bad news, the band are setting out to do a final leg of shows, celebrating their success.

Dates as followed: JUNE 8th Unicorn London, JULY 11th Edge Of The Wedge, Portsmouth, AUGUST 7th Green Door, Brighton, 22nd August - Crauford Arms, Milton Keynes, SEPTEMBER 5th The Winchester, Bournemouth, 20th The Exchange, Bristol.

Make sure you’re a part of their last days as a band.

Words by Isha Shah

10th Renounced @ Tooting Tram FREE 10th -14th DOWNLOAD @ Derby 16th Tramlines @ The Old Blue Last LONDON Free 18th Polar @ The Barfly Camden 18th Faith No More @ The Roundhouse Camden

Elegies sign to hassel records

19th We Never Learned To Live @ Avondale house Southampton 19th Milk Teeth @ Al Burrito Southsea 19-20th Foo Fighters @ Wembley Stadium 23rd Nai Harvest @ The Old Blue Last 25th Desolated @ The Unicorn Camden FREE 18+ 28th Renounced @ The King Alfred Pub SOUTHAMPTON

The ever so thriving Elegies have just announced partnering up with Hassel Records, where they will release their brand new EP Daylight Disease on June 29th. You can pre order the EP on iTunes for £2.99.

You can also se the band play the EP at their release show in Sheffield on the 29th at The Rocking Chair.

For £5 it includes a ticket and the EP itself. https://www.musicglue.com/elegies/products/ep-releaseshow-290615---the-rocking-chair/

28th Room 94 @ The Dome London 29th Elegies @ The Rocking Chair SHEFFIELD

Words by Isha Shah

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new band

rickyfitts For those who love the comeback grunge scene at the moment, you will love Portsmouth’s ‘greebo’ duo, Rickyfitts. Curly hairedThomas Dalmut-Rudd screams or talks and plays guitar whilst grungy looking Max Goulding takes care of the drums. Imagine Royal Blood style riffs with a ton of feedback. Rickyfitts incorporate a lot of instrumental sections and breakdowns switching up the rhythm. After playing Southampton's Common People in May, the duo are playing Truck Festival in July.

Tracks to listen to Hissfitts, Tie Dye Goth Love

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Words by Rosalyn Boder Photo by Caspar Brigdale Photography

FEATURE

Photo by Joe Brady Photography

Are British rock bands losing their style in order to gain mainstream success?

It’s no secret that British rock bands are steadily making their way into the mainstream. You only have to look at this year’s Brit awards to see that Royal Blood won best British rock band. They also topped the album charts in 2014. It's not just British rock that is becoming more successful.

All Time Low's album Future Hearts also reached number one in the album charts this year.

This has been going on ever since metalcore band Bring Me The Horizon’s album reached number three in the album charts (2013) – a leap not only for the band, but for the genre as well. As a lover of all things metal and rock, you would think I would whole heartedly embrace the fact all my favourite bands are becoming more successful.

However, it’s not that simple, a lot of rock bands, bar a small few, have completely changed their sound in order to be more successful.

Take Bring Me The Horizon. Just listen to their first album Count Your Blessings then listen to their most recent album Sempiternal. Anyone, even someone not all that familiar with metal music can see their first album is much heavier than Sempiternal. Personally I love BMTH’s new sound and the fact they have become more and more successful. However, the fact is they would have never become successful unless they had changed their sound. I guess the band to make the most noticeable change is Deaf Havana. In case you’re unfamiliar, the band used to have a ‘scream’ vocalist and a more heavy sound. They have now dropped the ‘screams’ and seem to have adapted a more folk sound – think Mumford and Sons.

You Me At Six are another band that have become bigger and bigger. Moving up, playing Reading and Leeds main stage and Wembley arena. Their most recent album, Cavalier Youth also reached number one in the album charts.

However, yet again this band have lost some heaviness along the way and become more of a pop band then a rock band. I could give you a whole list of British bands that have changed their sound – Lower Than Atlantis and We Are The Ocean, to name a few.

While I agree it’s important that bands evolve, of course with this comes a change in sound at times, should bands lose their style altogether?

I think it’s laughable that half these bands are considered rock any more. So, while its all well and good celebrating rock and metal music being more successful, it doesn’t really count for much when it’s not really rock music. Come back to me when a band such as Architects, While She Sleeps or any band that have maintained their style, get mainstream success. Only then will I celebrate ‘rock’ or metal bands entering the mainstream.

Words by Chloe Rose Eaton

have your say: @Themindsweep Not too keen on the new Donny B. Chart style summer tunes. Quite catchy dont get me wrong, but I’ll take the old workout any day personally.

@celariacmash I hate the way that rock music is blending more into the social norm of boybands and the way that media companies are making us perceive and idolise the musicians.

@RobAutumnruin Anything @deafhavana do is amazing.

Loved their heavier shit with Ryan & love their more folky acoustic stuff now. Great when bands evolve.

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FEATURE

It's the may bank holiday weekend, the sun is fi and the sweet sounds of pop punk, rock, and met festival most famous for it's friendly atmosph

SLAM

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ighting its way through the grey clouds above, tal fill the air. this can only mean one thing: the here and overall great vibes. It is of course...

DUnk Photo by Ashlea Matthews

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Photo by Ashlea Matthews

Photo by Ashlea Matthews

you me at six

we are the ocean

h2o

Photo by Ashlea Matthews

Photo by Stuart Peach

knuckle puck

SHVPES Shvpes are tasked with the potentially difficult job of opening the Monster Stage, something they make look incredibly easy. The small crowd that sees the start of their set grow song by song, as the band formally known as Cytota give fans the kick-start the day needs. Their set is adrenaline-fueled, lively, and brings the first mosh pit of the day. The highlight is their newest single ‘State Of Mind’, showing that promising things are coming from this band, and they are definitely one to keep an eye on.

PVRIS Only the second band o to take to the main stage, Pvris manage to gather one of the biggest crowds of the day. Justifying the buzz that has been surrounding the American five-piece, their collection of synth-rock tracks translate brilliantly into a live performance, creating a set that is loud and full of energy. ‘White Noise’ sees a high point in audience vocals, as they join in with this massive track, much like You Me At Six’s Josh Franceschi joins the band on stage for ‘My House’.

Unfortunately, there are problems with his microphone, meaning that the whole thing was slightly underwhelming. We’re sure it was great if you were in the front two rows though.

KNUCKLE PUCK Knuckle Puck make their three-month gap return to the UK, appearing at the

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Macbeth stage of Slam Dunk festival. Still brining over their lively sounds, the band pull a large crowd to the outside stage at the south date. Placed at an early time, the band uses this to their advantage as everyone’s adrenaline is heightened and ready to have some fun. Vocalist Joe Taylor prances around the stage, as floods of bodies make it over the barrier, trying to catch the mic.

‘Oak Street’ and ‘No Good’ still proved to be their most pumped tracks as the band circled around the stage putting on a fully involved show.

ROAM From the states to the UK, Roam are up next who shared the same stage. Local to the scene and thriving even more, the Eastbourne quintet have made quite a name for themselves. Earning their place on this wonderful stage, the five young lads make the most of every second they have. Instantly the crowd bounces at the same height of Costello’s jumps. Known for their over enthuastic performances, the band have once again continued in their expected footpath as they dance from one side to the other. The crowd surfing didn’t stop there, they set a record of over 80 surfers at the North date, and South was about to top that.

TRASH TALK Jumping around to catch Trash Talk at the Impericon stage, which already seemed to be setting things off already. No time is ever wasted at one of their shows. Walking into their set vocalist Lee Speilmen shouts, “ I fucking hate pop

the wonder years Photo by Ashlea Matthews

punk but it’s cool that we are here.” Obviously not giving a fuck, his carefree attitude reflects solely on his interaction. Placing himself into the crowd, Speilmen makes himself involved with their heavy throwing punches as they battle it out with one another along the floor.

Despite just seeing the band three times already in the past month, I don’t think I will ever get sick of hearing. “Does anyone like weed? Well this song is about week, smoke it up.”

NECK DEEP From departing the vans stage last year at SD festival, Neck Deep have blown up (a little too much) and made their way onto the mainstage. Maybe this was a poor choice for a band that doesn’t sound quite with it live anyways, but to be put on the mainstage where the sound is 10x worse? Arriving ever so confidently on stage, the band get right into their latest tracks that react well with the underage crowd. Live, the band have made an amazing improvement. From many years of practice and the self confidence game at its highest the band have now reached a stage where they are all in sync and sound complete. However when west announced to the 14+ crowd that “you’re all arousing me”, my attention turned right off.

STICK TO YOUR GUNS Storming onto the Impericon stage with heavy stomps, O.C hardcorers, Stick To Your Guns make a grand appearance. Cheered on by the awaiting audience, the band go stuck right into their first song, ‘Nobody’. Filled with the heaviest of bass lines that makes your stomach rumble, the vibrations sent shivers through your body as Jesse Barnett roars in resilience. Their set takes off as soon as it starts, with a packed out room and a pit slowly opening up, everyone has a little mosh to the bands latest releases off Disobedient. With their signature setlist, the band moves from banger to banger, playing an old favourite, ‘Amber’ too.

“You can change the world, simply by changing yourself. I don’t mean to offend you, that is not our intention but if we do, I am not sorry for it.” Bold and brave, Barnett makes one of his undoubtedly grand speeches about the world and self-belief. It’s one thing I admire about the band, their constant persistent to break down barriers and put a change to the world. A solid set is ended with ‘Against Them All.’ LOWER THAN ATLANTIS Lower Than Atlantis walk casually onto the Main Stage to a huge crowd of cheering fans.

Vocalist Mike Duce smiles in his usual ‘couldn’t give a fuck’ way as he mumbles between songs, most of which are taken from their most recent, self-titled album. The singles are received incredibly well, particularly the bouncy ‘English Kids In America’, however slightly older fans of the band may be disappointed that more of their earlier songs aren’t included in the set list.

As the band went to play ‘Another Sad Song’, Duce jumps down into the crowd, and after some difficulties getting his microphone and guitar to work (as well as a fair bit of time trying to get a decent circle open in the crowd) he enjoys one emotional verse and chorus with the loud fans surrounding him, before giving up and returning to the stage.

BANE Eyes now fixed on the Impericon stage that seems to have such a great line up of bands, Bane are up next to cause come havoc. Slightly shrinking in crowd size, the much-loved Worcester, MA hardcore band step up the game.

Appealing at a slightly older audience of pure hardcore lovers, vocalist Aaron Bedard jumps over the barrier and joins the crowd of people who so desperately want a mic grab.

CROSSFAITH Japan’s Crossfaith create an atmosphere at the Monster stage unlike most other bands performing this weekend. Their fast, bass heavy hits such as ‘Jaegerbomb’ see an incredibly energetic show, both from the band and the audience alike. Mixing genres in a similar way to artists such as Enter Shikari, Crossfaith’s metalcore elements and heavy electronic sound has the entire crowd moving. Their cover of The Prodigy’s ‘Omen’ is something else, and provides something that even those who haven’t heard them before something to sing along to. The band are incredibly proud to be performing in the UK, and their set today reinforces this in every way, having given it everything they had to give.

don broco

Photo by Ashlea Matthews

Comeback Kid Good friend and brothers to the fellow bands of the Impericon stage, Comeback Kid egg onto the stage. ‘Die Knowing’ starts and the now sold out room spreads their bodies so pitters can dance in the middle. It’s always a fun show when Comeback Kid are playing no matter the crowd. Slam Dunk proved this as a large group of teenagers throw themselves in all kinds of shapes on the floor.

DON BROCO Rob Damini’s incredible charm and charisma comes across in any of Don Broco’s live performances, making him arguably one of the best frontmen in the current scene. From start to finish, the band give a faultless set, providing a demonstration of their pure talent, as well as their incredible enthusiasm. Crowd favourite ‘Priorities’ sees huge crowd excitement, particularly when the sour band members burst into the famous ‘priorities walk’. The sound level drops as they play a couple of new songs from eagerly anticipated second album ‘Automatic’, and although fans cannot sing along, they are incredibly well received. As Damiani announces that they only have two songs left to play, chants of

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‘Thug Workout’ erupt from the screaming fans. He laughs, “we weren’t going to play that one,” but does not disappoint, as their pre-priorities hit ends up providing the most energetic few minutes of their set.

TRANSIT Drawing an even finer close to the fine summery day, Boston MA, Transit flutter on stage with ‘The Only One’ playing right away. Since the two year gap since the last time they played Slam Dunk, the band have released a record titled Joyride which exposed lighter and feel good songs that adds to their already perfected sound.

Transit are such a perfect band to play at SD, with their music that gets you off your feet and bouncing around with a smile on your face, they take you to a happy place where nothing is relevant. Despite not playing their most demanded song, ‘Young New England’, they played ‘Long Lost Friends’, a classic.

When on stage Joe Boyton changes completely, he puts on a whole new personal and gets so emotionally involved within the crowd that he let himself go and dives right into the stretched arms.

Again like any other band playing that stage, it was crowd surfing heaven, like it’s a competition who can be in the air the longest.

the band. From just forming under three years ago, the four piece have been on the lips of everyone’s mouths, and with their latest record blowing through the roof, they have reached number one on everyone’s list to see live. Ending their set with an older track, ‘Boston’ is a nice touch the band adds, closing a successful night as mouths mimic the lyrics.

YOU ME AT SIX You Me At Six headline the main stage as the sun goes down on a phenomenal day.

Having promised earlier in the year to play much-demanded songs from their first album ‘Take Off Your Colours’, they open their set with ‘The Truth Is A Terrible Thing’

pvris

WHILE SHE SLEEPS While She Sleeps give one of the stand out performances of the day, giving the large group of fans a perfectly selected mix of songs from throughout their career.

Energy, pace, and head-banging make up the set, a choral of vocals from fans joining them on songs such as ‘This Is The Six’, ‘Seven Hills’, and ‘Our Legacy’. Having been fairly quiet recently, the band give a technically sound performance, obviously pouring everything they have into each song. While She Sleeps manage to deliver something that Slam Dunk has been lacking today, their show describable only as faultless.

MOOSE BLOOD Playing in the tiniest of rooms, and cramp in a small stage, thee Canterbury emo gang Moose Blood play a sweet intimate set. Despite the high demand for this thriving talent, the room was filled to the brim. So packed, people are standing on tables and huddled together to make room for even more people. Disappointed with it being so crammed, a large crowd soon grew outside, turned away by the guard they didn’t take no for an answer. As son as ‘Bukowski’ started playing, the group outside of the venue began to sing as if they were standing right infront of

Photo by Ashlea Matthews

lower than atlantis

Photo by Ashlea Matthews

neck deep

architects Photo by Bethan Miller Photography

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Photo b

and ‘Save It For The Bedroom’, the latter seeing an incredibly strong vocal from the crowd, the majority of whom wouldn’t have seen the band perform this song previously. Their set provides a well-balanced and varied mix of songs from all of their albums, for the first time in years, weighing slightly heavier on their earlier releases. The pace is stopped mid set however when You Me At Six hold off as an injured fan is seen to. The band are praised massively by fans for stopping for a fan, all while Josh Franceschi attempts to fill the gap with some humour (attempt being the key word).

It’s not long before they’re back in the swing of things, the festival allowing them to run on past where the end of their set should have been. ‘Room To Breathe’, ‘Bite

My Tongue’, and ‘Underdog’ see the night out in the most spectacular way, You Me At Six showing everyone just how far they’ve come in their ten-year career.

THE WONDER YEARS “Three years ago we were playing the Kerrang fresh blood stage and here we are now, headlining the Macbeth stage. We are so thankful for everyone who chose to see us over all of the other amazing bands. It’s great to think that the UK has some of the best talent with bands like Roam, Trash Boat and Moose Blood who will in three years time be headlining this very stage.” Soupy declares. Showing his love for the UK, and the festival itself. The Wonder Years finally end the very much-deserved

by Ashlea Matthews Photo by Stuart Peach

taking back sunday

transit

Photo by Stuart Peach

Macbeth stage for one final time. With their hard work paying off, the kings of pop punk rock onstage with a positive and thankful attitude, thanking every single person who helped them get to the stage they are at now.

‘Dismantling Summer’ opens up a 15-song setlist from the monstrous band. Right away floods of bodies pushed their way forward. The band start off their mammoth headline set with some strong bangers. ‘Local Man Ruins Everything’ picks up the pace of the riveting crowd that is now singing every since utterance.

It’s strange to think that a band who were just starting out playing a tiny stage three years ago are now headlining the same festival with three times as many faces than before. TWY are a band that never fail to disappoint, within their appearances at SD across the years, they have always managed to pull in such a hyped crowd that really shows their dedication to the band.

The setlist was balance with songs that are filled with joy and pleasant riffs that end the night with high spirits. ‘The Devil in My Bloodstream’ eventually starts to begin and the whispering voices softly fill the air with passionate voices. The build up within this song is amplified to the max. Performed live, every little bit of emotion is let out, as Soup makes his way to the crowd, blasting his voice.

Boomingly cheered for an encore, ‘Came Out Swinging’ gets the ground moving.

Bouncing in all directions of the stage, and thousands of voices filling the air with

the lyrics, TWY definitely came out swinging at Slam Dunk 2015.

Architects Architects provide a lesson to everyone at Slam Dunk in how to give a perfect performance, filled with quality, personal flare, emotion, and pure enthusiasm.

The band play a mix of songs from each of their albums, providing something for both old and new fans.

Anthems such as ‘Naysayer’, ‘Alpha Omega’, and ‘Gravedigger’ see huge vitality in the crowd, with everybody from the front of the stage to the back of the audience finding it impossible to keep still, whether its a mosh pit or some simple head banging. They are joined on stage for one song by Bury Tomorrow’s Dani Winter-Bates, whos harsher sounding vocal compliaments that of Sam Carter. They also take the time to honour the birthday of one particular fan who has travelled around the world watching the band, and joins them tonight at the side of the stage.

The vibe as they leave the stage tonight could not have been better, another faultless performance means fans exit buzzing, already reminiscent of an incredible day Words by Adrianne Goron and Isha Shah

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ALBUMs faith no more

7/10

'Superhero' is worlds away from 'Sol Invictus', with a more punk heavy element to it and the juxtaposition between the two shows the diversity of the band.

There is something very Myles Kennedy about Patton's voice with an undertone of Chris Cornell from Soundgarden. It's a very diverse song as the punk element seems to transform into grungey metal. Mutating from one style to another, seems to be very common throughout the album. 'Sunny Side Up' has an interesting mix of heavy and softer parts, the adjacency of the two combining perfectly.

The variety of this album is astounding, with almost every track having so many different styles and elements to them, each song sounding completely different to the last. 'Black Friday' seems to have a Dire Straight's ' Sultans Of Swing' aspect to it – aside from the heavy parts. This is completely unlike the rest of the albun. While it still includes Patton's eerie, captivating vocals, the guitar melody is slightly more upbeat and cheery. This is very different compared with the rest of the album which has a more sombre feel to it, especially 'Motherfucker.'

While Patton's vocals are astounding, the music doesn't really kick in till about two and a half minutes into the track, with guitarist Jon Hudson producing some very 80's sounding guitar.

While many songs on this album are very diverse and interesting, there are some tracks which seem to follow the same pattern; theatrical opening and then transitioning between heavy and soft elements. However, it is a pattern that works well for band and with many people not hearing vocals so captivating since the 90's, it's still an impressive album.

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8/10

Don't Wait 'Til Tomorrow

Sol Invictus

Nirvana bassist Krist Novoselic has said 80's bands such as Faith No More, “paved the way for Nirvana.” With that statement alone, you know that after an eighteen year hiatus, the alternative metal group are going to come back with something truly remarkable. Sol Invictus means unconquered sun in Latin and is also the official sun god of the Roman Empire. The title track seems to really play on this theme, with lyrics such as “I'm coming Lord, I'm on my way, Worshipping at the alter of no one” and “Sin ain't coming our way, But the sun keeps burning my face.” It seems to be a song about repentance and the tone of Mike Patton's vocals really emphasise this. It's an eerie opening to the album, that almost seems theatrical and has quite a dark feel to it. Patton's strained, almost whispered vocals then transcend into serene singing. The transition between the two throughout the song, showcase his vocal talent and give a powerful opening to the album.

Words by Chloe Rose Eaton

young kato

the story so far

9/10

The Story So Far

They have already made an appearance on Made In Chelsea have had support from BBC Radio One and releases a couple of EPs, but how will they fare on the album front? Young Kato have released their anticipated full length debut: Don’t Wait ‘Til Tomorrow. It is a record packed with fun, energy, emotion and infectious hooks. Vocals from Tommy Wright sound somewhere in between Alex Trimble and Robert Milton.

First track ‘Sunshine’ sets of the album’s energetic pace. It was written in a back garden of Summer 2014. With a feel good hook and a dance element to it, it’s an escape to summer, whatever the weather. If you haven’t seen second track ‘Drink, Dance, Play’ in a live setting, then you definitely should. I will have you on your feet chanting along to the lyrics “We drink and we dance and we dance and we play!”. It is all about having fun and being young and carefree. Simple in its verses, it builds up into a big chorus to a full on party anthem.

inspired, will certainly get stuck in your head.

Similarly, ‘Remedy’ features a lot of synth underneath simple guitar strumming and a big focus on guitar at the end.

Parts of the album take a mellower tone such as in ‘Lights’, a slightly downbeat track with a glorious harmonious aspect. Whereas ‘Yes’ is even more toned down and poignant; it is classically a love song where Wright pours out his emotions meanwhile displaying that the band can write more than just indie dance tracks.

‘Just Say The Word Away’ is probably the biggest song of the record, and ends in a crescendo rather than being produced in a traditional pop style with an obvious chorus. It is otherworldly and closes the record with more of an emotional tone than a party one. Don’t Wait ‘Til tomorrow is probably the funnest records of the year with equal amount of effort put into the first track to the very last.

Words by Rosalyn Boder

This theme is displayed again in ‘Children of The Stars’ that takes inspiration from Australian synth pop. It is a look back on the band’s childhoods:“live fast, die young, don’t give a fuck”. ‘Runaway’ also displays this through its lyrics “I’m free, I’m alive, I’m a runaway.” The band have described it is about letting loose and escaping everyday monotony.

The Story So Far are clever in the fact that they know that this is what people expect from them, and live up to it, so as not to disappoint. They take it a step further however, to bring something new, something potentially unexpected, and something that makes them unique in a genre that is all too frequently being told that everything sounds the same.

With this album, the band is stronger than they have ever been before, musically, as well as lyrically, allowing them to deliver to fans a representation of their skill, better than they have seen before.

‘Solo’ is one of the strongest tracks on the album, with a strong arrangement and powerful vocal, it is a definite head-banger.

Short but sweet ‘Phantom’ show’s versatility, slowing the pace with softer vocals and guitars, with Parker Cannon sounding almost defeated.

This throws a level of emotion at the track that only adds to it’s beauty, and makes it a personal highlight.

don broco Automatic

The title track from Don Broco’s second album has the potential to be a summer anthem, with its definitive uplifting vibe and catchy “oooh’s” lacing together the verses. The combination of vocals from Rob Damiani and drummer, Matt Donnelly is massively effective, with the overall production demonstrating a development and refinement as they release album number two.

Words by Adrianne Goron

enter shikari Torn Apart

Young Kato have also taken inspiration from Kraftwerk in their track ‘Ultraviolet’. 80’s

Pop-punk is one of those genres that brings with it a concrete stereotype of what to expect, that goes beyond the music to talk about nonsense characteristics associated with all those involves. “You like pop-punk, you must like pizza” being one example, alongside the never-ending debate about whether or not the genre is “dead” or not (do we really care that much?). Bands are making solid pop-punk music, which is arguably the biggest argument that the genre is alive and kicking.

singles

Their unique style sees them fly between verses, mixing up rhythms and tempos to arrange songs in a way that the majority of artists probably haven’t even thought of. This means that rather than a memorable hook, or a couple of lines you want to sing along to, each song becomes something you hold onto long after you’ve finished listening.

The Story So Far are rapid, their pacey riffs and general energetic vibe make for an overall sound record, each of the ten songs that feature demonstrating the unity of the band, and their overall development from ‘What You Don’t See’ to now.

Words by Adrianne Goron

The lastest single from Enter Shikari’s phenomenal album ‘The Mindsweep’ sees the band at their very best. The song is a well-crafted concoction of the elements that make their music both unique and genuinelly great, including a mix of vocal styles from Rou Reynolds, from raw and powerful, to beautifully melodic. The chorus is powerful and incredibly infectious, combined with the strong synths and guitars the band are notorious for.

Words by Adrianne Goron

neck deep Can't Kick Up The Roots

Whilst maintaining their instantly recognisable style and poppunk roots, this track sees the band swaying more towards the ‘pop’ end of the spectrum than they have done previously.

It’s definitely a song that grows on you, and after a couple of listens the chorus and gang vocals find themselves lodged inside my head. The guitars are strong, the hooks are catchy, and it’s near on impossibe to keep your head still to. It’s a little different, but in this case, I think that’s a good thing, after all, development is far better than releasing the same thing over and over.

Words by Adrianne Goron

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Live

capsize Boston Music Rooms, London 06/05/15 8/10 Being on tour for three months non-stop is one hell of a job, and to carry on doing shows is another thing. However for South California’s five-piece Capsize, it’s just another road trip. After finishing a few dates in Europe the band make their way to London, which kicks off their first ever UK headline tour. ’68 bring over their charming stories from Atlanta, GA to the ears of the London crowd. Unexpected, the two-piece band set up an awkwardly position on stage, before their unique sound fills the room. Vocalist Josh Scogin takes on the role of lead guitarist, bassist, rhythm guitarist and vocals as the band start with a solo vocal speech.

Taking some time to let their sound sink in, ’68 are a band that slowly creeps up on you.

Now the drummer Michael McClellan, taps his sticks on Scogin’s guitar as if he was strumming them. This routine manor was a shock to the crowd who seem constantly amazed by the stunts the band pull off.

For just a duo, they certainty cause quiet a racket on stage. You will never really appreciate the drummer’s role until you see ’68 live. McClellan has this captivating ability to play such a complex set that keeps your eyes wanting more.

“Thank you everyone, we are Metallica. You can find our merch back there, with METALICA across each shirt.” Scogin says, adding more humour to their accomplished set, before Capsize take over.

capsize

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‘68

Increasingly growing to the UK scene, Capsize take to their headline spot in their planned positions. Scattered across the dimly lit stage, vocalist Daniel Wall makes his way across the front of the stage, swinging his arms to the faces of the audience. ‘Linger’ takes an energetic start, as hands are now stretched and voices are hitting every note sung.

The exhaustion of being on the road for so long certainly did show, however this didn’t effect the bands live sound at all. Once again they produce pitch perfect tones that explode with melodic riffs.

With their recent release of their first full length, The Angst in My Veins, the quintet debuted tracks off this record such as ‘Pale’ and ‘Numb’.

Finally they say their last goodbyes, as Wall throws the mic into the crowd of hands, who soon take over his vocals for a second. ‘I’ll Take The Blame’ kicks in as their most treasured track. Now the whole room is sent in vibrations of feet clattering, as one final mosh takes place.

Words by Isha Shah

deez nuts ULU, London 06/05/15 9/10 After making a short appearance at Manchester’s Impericon fest, Being As An Ocean opens the one off show at London’s ULU Student Union.

Attracting a large percentage of the audience, bodies start to sway with immediate reaction. Springing around the stage, vocalist Joel Quartuccio slowly makes his way to the floor.

Reunited with his friends, Quartuccio wastes no time in welcoming new people, he gets right up into their faces, passing the mic around this shared circle. Debuting a new song that had previously gone down well, the proud band live up to their hyped up expectations as London enjoy ‘Little Richie’ just as much.

Trash Talk soon then appear on stage with such confidence and authority, as if they were headlining the show.

“Turn these lights off right now,” vocalist Lee Spielman demands as the

Hiding the intimate show at Birthday’s London, Make Do and Mend arrives in the UK for just one small gig. Secretly promoted, the cramp underground venue was half filled with the hardcore fans that eventually found the show through their everyday stalk of their favourite band. (It wasn’t even sold out.)

With support from some of the UK’s finest melodic filled bands, Calls Landing made a great opener to the night. Inviting fresh and dated pop punk styles, the band filled the stage with posi jumps and energy blasted vocals that represented the growing British scene. Followed by Burnham/ Maidenhead’s emo collective, Hindsights who arrive on stage with such an elegant manor. Their melodic infused riffs captivate the audience’s eyes, as tones of alternative rock fill the room, the quartet bounce around joyfully.

For the one off show, both supports add equal value and worth to open for such a treasured band. With almost ten years of being a band, the four-piece travelled all the way from the states to play a show that sums them up perfectly.

No needs for introductions or that awkward talk at the start of the show, the band get stuck into what they do best. Blasting out powerful punk riffs, while the swaying of Mike O’Toole’s hair gets caught in your mouth.

student union is now consumed in darkness. It’s never a Trash Talk show until Speilman gets right into the crowd and starts to cause havoc, which is exactly what happens next. Stealing all energy from the teen filled crowd, the bands heavy influence get rallies of pits forming and running about in full circles. Their traditional hardcore edge floats well with London’s crowd, as groovy riffs are blasted, bodies move in time to each beat.

Up next to co-headline this monstrous show, Stick To Your Guns appear with their rebellious expressions plastered across their faces. ‘Nobody’ is the first track that immediately opens up a racketing crowd. Playing live, the deep bass line is amplified to the max, sending vibrations throughout your body. The band move their way through tracks off their latest record Disobedient, to, treasured songs found

in Diamond, such as ‘Against Them All’ and ‘We Still Believe’. Occasionally Jesse Barnett would make a short speech, right on queue about the corrupt world we live in, and his hate filled political debates to the crowd as they roared with agreement.

Being away from the UK for such a long period of time seemed to have made an impact on the bands sound.

Being positively greater than the Never Say Die tour. Barnett’s tells a story about his best friend being a dog, and listening to his problems. Are we at a pop punk show? Evidently the band have come to grips with their stern sound, that live gets their serious message across, as bodies dive off the abnormally high stage.

As Deez Nuts appear, the venue, which was not sold out in the first placed seemed even, bore empty. I guess

the trains were finishing early that night? It was clear that the band had not attracted most of the audience to this show, but the support acts had managed to pull such a large collection of fans.

Nevertheless the front of the stage was lined with faces that pointed towards the band, and spat each lyric aggressively. They play ‘Like There’s No Tomorrow’ and the crowd picks up slightly. For the rest of their set things didn’t seem to be going as great as the night had been. I guess three amazing support acts are hard to live up to, as keeping the crowd off their phones was another task. After all the show is on a Wednesday night. Deez Nuts still play with such enthusiasm and authority, as bounces of hair flicks contain the view throughout their set.

Words by Isha Shah

With such a small stage to move around in, the band made great use of it by continuously keeping us alert as they move in sync with the melodic tuning of each song.

Celebrating their recent release Don’t Be Long, the four-piece debut the titled track live. Performing it for the first time in London it proves to be a massive hit as mouths move alongside James Carroll’s own. It had been a while since MD&M had produced a record or been on the radar, and with this absence there had seemed to be a loss of interest around the band.

However this show was something the band did for the dedicated fans, as every single face lit up throughout their set.

Everyone’s favourites off Part and Parcel and End Measured Mile are playing in a mixed order. ‘Unknowingly Strong’ set in and hands start to point to the front of the stage, as words are shouted back and heads bang in time to the drumbeats.

Make Do and Mend are a band that will forever be treasured and placed deep within our hearts no matter what age, as the audience reflected this perfectly.

Everyone got to relive their youth days tonight, and just let go to highly assertive punk music.

Words by Isha Shah

make do and mend Birthdays, London 12/05/15 9/10 All photos by Isha Shah Photography

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Live trash boat The Garage, London 19/05/15 10/10

With a one off EP release show at the Garage London, Trash Boat brought in three of the UK’s most recognised pop punk bands.

Essentially the night was dedicated to this one genre, with Waster, Homebound and Six Time Champions opening up the night.

From recently signing to Hopeless records, the quintet have released their brand new EP Brainwork through the label and celebrating the success with the show tonight.

Diving right in, with the upbeat intro of ‘Taylor’ vocalist Toby Duncan makes himself well acquainted with the crowd, by plunging himself right into its core. The high level energy displayed on stage was constant, as each song topped the next in the bands ability to dance around the stage.

The tension had been heightened to this very point as the room was now packed with piling bodies of fans, all trying to get on stage.

Debuting their EP, ‘Saving Face’ is now blasted with an immediate sing along from the crowd. Cutting through old tracks in-between, it balanced Trash Boat’s set evenly with a mixture of fast paced melodies and softer breaks.

As Oakley Moffatt begins his drumming intro, the crowd get ready for ‘Lock-In’. Plastering themselves onto of each other as their legs hit the ceiling, it was crowd surfing heaven. Growing so largely within just a year, Trash Boat were supporting Roam last year at the garage, to now headlining the very same stage.

Right on queue, ‘Gnarmalade’ began to set in and the bands signature ritual kicked in. Swapping vocals for a second as a wave of hardcore riffs and stretched vocals changed the track instantly. Rough and rugged the already hyped up track was swinging in full motion of movement.

‘Boneless’ ends the cluttered night with one final release. All bodies are now bouncing about, hitting each other as the audience sing the whole song with different mouths glued to the microphone.

Trash Boat had done it once again, making one hell of a night to remember with the most interactive crowd yet.

Words by Isha Shah

All photos by Isha Shah Photography

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