February 2016 #9 by New Roots Magazine

new roots issue 9 february 2016

hindsights 2011 - 2016

Plus Bowie, lemmy, uprooted, 90s fads, women in hardcore, and why you need to support the scene Photo by Isha Shah

wolf down the maine giants beach slang muskets neck deep

A Note from the team Another month (and a bit, sorry) has flown by and a lot has happened in the world of music. Early on, 2016 has become the year that started with the unfair taking of many musical icons and talents; we pay tribute to Lemmy and David Bowie in this issue. We would also like to express our sadness upon hearing the tragic news of the accident that claimed the lives of Viola Beach, who featured in the Uprooted section of our December issue. Our thoughts are with the family and friends of everyone involved. This month we say goodbye to Hindsights, featuring an interview with the band looking at their career together, and hints of what may come in the future. We also begin a brand new “Behind The Lens’ feature, where we’ll be speaking to different and exciting photographers every month – beginning with Jenny McCord. We also look at the obsession with all things 90s, why it’s important to support what’s happening in your local (or broader) music scene, and why Kanye West is so great on Twitter. Our live review section in this issue is huge, featuring The Maine, Neck Deep, Beach Slang, Giants, and Hindsights, to name just a few. It’s great to see new people getting in touch with us every month, which we want to see more and more of (please, we’re lovely, honest). We put a lot of time into New Roots and it’s incredibly rewarding to see the continued support we receive. So thankyou to everyone, we hope you enjoy this issue.

News Editor: Chloe Rose Eaton Features Editor: Harriet Stanley Reviews Editor: Isha Shah Design Editor: Adrianne Goron

Sub-Editors: Dylan Carey, Chloe Rose Eaton, Amy Jones, Charys Newton, Harriet Stanley, Natalie Webb Contributors: Ashwin Bhandari, Arriana Corr, Seb Catmur Wawryk, Chloe Rose Eaton, Lewis Edwards, Adrianne Goron, Emily Gunn, Megan MacMillan, Jenny McCord, Isha Shah, Harriet Stanley, Jack Webb Photographers: Ant Adams, Ryan Dalton Rodrigues, Jamie Davies, Anne Carolien Köhler, Gingerdope Photography, Jess Latone, Jenny McCord, Elliot McRae, Gemma Robinson, Isha Shah, Derrick Wess contact us

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

Facebook: New Roots Twitter: @newrootsmag Instagram: @newrootsmag Email: newrootsmag@gmail.com

Contents highlights of the month

News - pulling together to raise money for muskets

Weâ&#x20AC;&#x2122;ll miss you lemmy

goodbye starman

10 times kanye west was great on twitter

what grinds my gears

uprooted

jenny mccord - behind the lens

support the scene, support your mates

which 90s trend will fans be jumping on to next?

support women in hardcore

Interview - hindsights

album reviews

single reviews

live reviews

Photo by Isha Shah

news H i g h li g h ts of the month Giants sign to Holy Roar The Word Alive announce new album, Dark Matter

pulling together to rais

muske

after robbery

Krooked Nation release debut EP Cold Blooded Soundwave Festival is cancelled Hacktivist released a surprise mixtape Eagles Of Death Metal confirmed for Reading and Leeds Shepherds Bush Empire to be closed throughout January Paul Wandtke joined Trivium as their new drummer Letlive.’s vocalist Jason Butler performed with Every Time I Die Creeper change their line up with Sina Nemati leaving and Oliver Burdett joining Hindsights announced they will play their last ever show Motionless In White rescheduled their tour for January Scott Weiland of Stone Temple Pilots and Velvet Revolver passed away aged 48.

On February 8th, the Brighton punk band Muskets made a Facebook status declaring that their van had been broken into, resulting in a robbery of equipment that has left them in a great deal of debt. After shooting a music video, the band had quite a lot of equipment stored in their van. The band has put up pre-orders for a new t-shirt that they are unveiling this week. (http://muskets. bigcartel.com/product/distort-my-mind-t-shirtpre-order) Appreciating any support fans and friends can give to the band; Muskets had received an overwhelming feedback of support. The quartet are announced to play a run of shows alongside Creeper, Weatherstate, WSTR and Wallflower, choosing not to cancel these and do their best, Muskets are showing true punk rock spirit.

Taking an incident as shit as this and turning it into a way to bond with new people, the UK scene has shown its upmost gratitude towards the band and their unfortunate luck. Fellow friend and merch guy Ant Lacy has declared on his Bigcartel that all donations made from his zine will be given to Muskets. “I’ve put together a collaborative zine with work from all three photographers and myself to sell as a fundraiser for Muskets. The photos are of muskets and places we visited while on tour with Creeper and Moose Blood. All money made on this zine will go straight to Muskets. If you feel you could spare more then the asking price of this zine please paypal however much to antlaceytouring@gmail.com with your name and address attached,” he states on his website.

se £850 for

ets

The zine includes photos from some of the UK’s best photographers, Jay Wennington, Anabasis Media (Nick) and Gingerdope (Martyna Wisniewska). Wennington is also selling his own prints of the band, with photos taken from tour; you can grab one for just £6 (including postage). A fundraiser show has also been announced on the 11th March at the Royal Pavilion Tavern pub in Brighton. Muskets will headline the show alongside The New Tusk, Glen Foye, Water Canvas, Scared of Everything and more TBC. The support doesn’t just stop there. Good friend and frontman of Scared Of Everything, James Stelz has set up a Gofundme page in support of the band. Raising over £500 in just 24 hours, the target goal begins to rise, as more and more people donate to the band. The current figures stand at £850 of £1,00, sure to be reached in the

following days, including a massive £163 from pop punkers Boston Manor. The local music scene strives of any bad situation. This being the living proof of that, together we can turn one scummy event into something that brings us even closer together. The list of gear stolen includes: - Gretsch Catalina Club kit, Walnut Glaze finish: (18” kick, 14” floor tom, all in Protection racket cases, labeled with Joe Phillips’ address and info etc) - Zildjian cymbals: (13” K Hi Hats, 22” K Crash Ride, 23” A Sweet Ride, 24” K Light Ride, encased in a Ahead Armour Deluxe cymbal bag) - 14 x 6.5 Tiki Drums snare, Protection racket snare case (Hand-made by Joe, irreplaceable -

pretty lame) - DW 9000 Single kick pedal (encased in a protection racket kick pedal case) - Hardcase HN4W40 Hardware Case (with DW 9000 series 2-legged hi-hat stand, DW 9000 series snare stand, unbranded straight stand, Mapex round drum stool) - Fender Supersonic 22 guitar head amp - Orange 2x12 closed back, guitar cab - Ashdown MAG 300H bass head - Unbranded upright bass cab Support your local music scene. Words by Isha Shah

Lemmy we'll miss you

Ian Fraser “Lemmy” Kilmister was a cornerstone of the modern musical landscape. With Motorhead he introduced his irreplaceable basstone and worked to create the double kick patterns that are still commonplace today. Lemmy had an impact on any fan of music, and that’s the only real way to talk about him. I must have been around nine or ten the first time Motorhead graced my headphones. I was sitting in the back of my parents’ car as ‘Ace of Spades’ played. I remember this feeling of power and animosity towards others. In essence...I was hooked. But as a kid these moments pass rather without effect. It was a few years later however when I was in a local HMV and I spotted the remastered version of 1979’s seminal album Overkill, and from there my descent into the hallowed halls of Motorhead really began. The man simply transcended music, his personality and image crossed over into the worlds of film and video games (most notably on the 2009 game Brutal Legend). The popular culture references will never stop “Wrong! Lemmy Is God” kinda sums the man and his music up. Even up to their 2015 release Bad Magic Motorhead were firing on all cylinders, constantly disproving the lie that every Motorhead track sounds the same. The 2010 rockumentary about Lemmy, showed the world that he was completely happy with what he had achieved, and had wished it no other way. Despite what some had stated about Lemmy, it will be some time before we bear witness to another character of such gravitas in the music world. Rest in peace Lemmy and keep it loud. “I don’t do regrets. Regrets are pointless. It’s too late for regrets. You’ve already done it, haven’t you? You’ve lived your life. No point wishing you could change it.”

Words by Jack Webb

goodbye Starman Whether you liked his music or not, there’s no denying that David Bowie had a massive impact on the world. I wasn’t really aware of how important he was until his death. When someone famous dies, a strange thing happens - a lot of people post how sorry they are for their death on social media then days later when the news has been clogging up people’s Facebook news feed, you never hear anything about it again. However, It’s been a few weeks now and there are still things being shared about his death. It’s fair to say that Bowie was an incredible human being, but what was it about him that was so special and made thousands of mourn that day? I’ve always known who Bowie was but didn’t fully appreciate him and his music until I went to University. I remember sitting in a 9am lecture after going out the night before and was feeling hungover, but somehow my lecturer managed to keep me engaged for an hour as he basically just talked about the history of David Bowie. After that lecture I went on Spotify the moment I got home and explored Bowie’s discography. From then on, like many people, the astounding talent of the man entranced me; everything from his music to his ability to constantly reinvent himself into these great stage personas and it’s these recognisable faces that people will remember the most about him.

from start to finish and my personal favourite. It’s an amazing listening experience that takes you on a journey, which will stick with you for the rest of your life. At the end of the day, good music is supposed to move you and Bowie managed to touch thousands of people with his beautifully eccentric music. Like his stage personas, his music constantly changed and there were no boundaries as far as he was concerned. He’s done everything from instrumental electronic music to glam rock. Furthermore, his music gave people inspiration and he taught people that they could use their imaginations as well as that there are no limitations. Although he died at the beginning of the year, there’s no doubt that his legacy will live on. He will forever be inspiring people to break out of boundaries and explore new and exciting territories for music. Maybe the fact that Bowie didn’t fit into one specific genre will explain the amount of musicians from all across the musical spectrum that have paid their respects to him. Farewell Starman, rest peacefully in the stars where you belong. Words by Megan McMillan

Like a lot of others, I was mesmerized by Bowie’s most iconic stage persona, Ziggy Stardust. The Rise and Fall of Ziggy Stardust and The Spiders from Mars is a flawless album

8 times

kanye west

was great on twitter

what grinds my gears In my mid-teens gigs used to fuel my life. Of course this was because I was in that cringey fangirl phase, doing anything possible to see my favourite band live at the barrier. Thankfully, I grew up, stopped being an annoying twat and became the moody, anti-social recluse I am today. While growing up with music as a vital part of my identity, I started to notice things. The things that used to be funny soon became the things that made me want to run on stage and shove drumsticks in my eyes. The people who I thought were cool and wanted to be friends with were really just stuck up music snobs who thought they were better than everyone else. The gigs that I loved so much are now a haven for edgy teens looking for something to snapchat or tweet about. I know I sound like some 60-year-old fart moaning about the youth of today but, hey, it’s true. Now here’s a few things that make me internally scream and fantasise about killing people: Picture this: it’s a sold out gig and you’re pretty much being held up by everyone else’s shoulders. Everything is cool but then someone loudly says, “I think they’re over there at the front” as they point in a vague direction.

Come on, we all know you’re bullshitting. But still, they proceed to push past you, spilling lukewarm Carlsberg over you in the process, just to get that centimetre closer, nice one. To make things ten times better they stop right in front of you and they’re about the size of the Eiffel Tower. You face two choices here: either call them out on it, which leads to them aggressively yelling their rank beer breath in your face that you’re “killing the mood” and you need to “stop being a bitch”, or, you stand there in your moist top trying to peer over their shoulder to catch a glimpse. Either way you’re not going to have a great night. This next thing happened not too long ago. I was at a Turnover gig (if you don’t know Turnover, their music is very chill basically) and everything was going great, they sounded fab, everyone was having a great time but, for some reason unknown to me, this drunk guy decides to crowd surf. I don’t care about people crowd surfing but there’s a time and place. This wasn’t a shitty pop-punk gig where you can aggressively finger point and ‘mosh’ around; this was a chilled emo night. I would expect that on their last and most upbeat song of the set, but this was halfway through. Even the band were confused about what was going on.

When will this unnecessary shit end? There’s already indie kids moshing to Bombay Bicycle Club, what’s next? 14 year olds moshing to One Direction? I’m just going to come out and say this next one. People fart at gigs. It happens, and for some reason we pretend not to notice it, even when it feels like someone’s ass fumes are burning our nose hairs. To people who do this: that’s nasty. In more recent months the most annoying thing is the attitude of some people. It seems like if you’re not in the ‘scene’ then apparently that gives people the opportunity to give you major side eye like you’re a piece of shit. Strangely enough, these people are the ones who post on their Tumblr about how we all need to judge less and love more or some kind of crap. In conclusion, people are kind of annoying. I feel like I should say MOST people are annoying or someone is going to indirect tweet that I’m a bitch or something, right? Words by Emily Gunn

Photo by Isha Shah

o r Up c

w s d n a b w e n t a e r g heck out all the

featu

Photo by Isha Shah

d e t o o

we've

y a d o t t o n , g in r st w a r d , r e h t a b n u s : uring k c a l b it x e , e f if l c t h ig l , s n e d r a g e l temp

r e h t a b n u S tracks to look out for: 2014 - Present Aidan Coull - Guitar/ vocals Tim Andersson - Bass/ Vocals Alex Rayner - Drums A foundation of 90s/00s emo sounds fills the Corby, Northampton three-piece, Sunbather. Having their most pro-active year as a full piece in 2015, the band has put out their first EP titled Tomorrow Will Be Better. Recorded in Stuck On A Name in Nottingham early January, the trio released four songs in the space of a weekend with Ian Boult, allowing their creative juices to flow easily. ‘Fading’ highlights the bands’ captivating sound; second on the EP it provides a

Make You

Circles

An energetic start to the EP, and all adrenaline is focused to this track as it brings a nice intro to Sunbather’s first words. The vocals have a melancholy utterance as each line is sung; it lingers in the air for a bit.

Rather upbeat for an emo band, the song picks spirits up a little as it’s the last song you witness off the EP. The guitars become slightly more complex and bring a rockier riff to the table, giving Sunbather that extra edge.

subtle intro to the record with a downpaced utterances of words that are soon overpowered by the instruments. Truly haunting vocals possess the track thoroughly, as the tempo fails to change. Its simplicity adds to the drained out, exhausted feel that the song carries for a good three minutes.

I Could Stay Here atmosphere, progressively changing course but not too dramatically. Sunbather have kept their first release minimalistic, not trying too hard or giving too much away; it leaves our ears yearning for more, teasing us enough to get through the four tracks.

It’s very uncommon not to find Brand New and American Football amongst the influences of most modern emo bands. Sunbather goes down a similar root, however, marking their music with a bold UK trademark. There’s a huge part of honesty within the EP, relating to personal experiences that occur within every day life, Sunbather produce realistic narratives that come from a background of passion.

Although the band haven’t strayed too far from the path, they have some really fun shows booked in early March around London, Nottingham and Northampton, which will all be announced very soon. The three guys also plan to start writing again, what yet, we are unsure of but you can expect another EP or two track for sure!

Instrumentally, the band transmits an I Wish

Words by Isha Shah

tracks to look out for: Moonlight Starts off with a strong vocal introduction to the band’s progressing sound. The track grows with an addictive riff that peaks within the chorus, joining the bands playful and fun summer sound. It offers a nice little break, showing off their instrumental talent, as the ending fades out with the repetitive riff. Clubhouse Ends the Drawstring’s latest record with the duo joining forces to scream “run away on a holiday!” followed by a very upbeat melody that puts you in an adventurous mood. The song compliments the EP, fitting in perfectly and ending with a short twang.

Drawstring 2013 - Present Sam Shepherd Ben Schulze Taking their name from the Pity Sex song, Drawstring are certainly making their mark, having produced three EP’s within the past year. Two young guys, Sam Shepherd and Ben Schulze pour in their best efforts to form the sweet but sharp emo-punk band from Kent who are making music for all the right reasons. DIY focused, the guys had a few ideas for songs to make up their debut EP, which was then recorded in April 2015 with Ricky Beetlestone at The Clubhouse Studios in Tunbridge Wells. The two-piece spent a great deal of time recording their second EP in their bedroom and pulling it off greatly. Two, reinstates their DIY sounding ethic as they have broadened

their sound since the first release, but it also acts a nice transition to Three. ‘Trembling’ and ‘Waste’ are the band’s strongest tracks placing them on a higher ground compared to the competing talent they’re constantly up against. It’s very rare that you can listen to a collection of EPs and not feel the same emotions or hear the same repetitive bullshit over and over again - however Drawstring manage to regain a constant pull of surprises. The final track on their second EP, ‘Goodbye’, features a head-swaying intro that returns later on in the song, getting you moving along to the chilled out strums. As well as Pity Sex, the two-piece gather a varied range of influences including Bon Iver, Sufjan Stevens, Newton Faulkner and Simon & Garfunkel which all play a vital role within their musical style. “I have this fetish, almost,

for really well written songs. I guess you could say we’re just like indie-emo pop-rock,” Sam Shepherd tells us. Drawstring are a duo who can pull off recording in their bedroom and still release music that has an authentic feel to it. Their musical ability is never too short for variation, while the band may be lyrically simple; it’s beautifully effective to listen to. With touring on their minds, Drawstring are hitting the road across the UK and Europe in April with Coloured In and Eat Me. The duo are also constantly writing and recording whenever Ricky Beetlestone is available, so be prepared to receive another three records from them this year. Words by Isha Shah

not tod

2014 - Present

Alex Hardiment - Vocals Mitch Cundale - Guitar Sam Lawson - Guitar Kristian Fisk - Bass Simon Penhallow - Drums

2016 seems to have brought on a dead end to 2015’s rain of UK pop punk bands. With the over populating genre, now shamed to be ‘all the same’ and generic has had to fight it’s corner with a new wave of the classic pop punk we all know and love. Manchester’s five-piece, Not Today are striving to break down this barrier. Only just venturing out of their hometown to join Southampton for a local show, the guys are pretty much new to the whole touring experience. The guys share more than just a love of music between themselves, having

Photos by Isha Shah

such a diverse taste; pop punk isn’t the only thing consuming them.

Their first shot at making their mark lies with Infinity, a very short EP that is filled with rocky guitar hooks and smooth vocals that sharpen. The title track off the record certainty holds a Deaf Havana, State Champs inspiration to it, while ‘The Opposite of Everything’ takes the edgier Sum 41 and New Found Glory spark. Also adding a little acoustic spin for the EP, Not Today strives to challenge themselves at such early days with a strong leap of confidence.

Guitratist Michell Cundale tells us a little bit more about the recording process; “We recently recorded our next EP up in at Suff studios in Keighley with Matt Heap in an old abandoned factory for a week. It was fuelled by warm tins of fosters, the hot food counter at Morrisons and the American Football record. It was honestly one of the best weeks

of our lives!”

With such little music released, now is the time to be supporting your local talent, watching them grow and expand their sound into something that isn’t already done 1000 times before. So start by attending more and more local shows, and you may even catch these guys less than a bus ride away from your house. Not Today are looking at a spring release, and jumping on as many shows as possible in the future. With the door wide open and a hurdle of new bands emerging each second, it’s never been a better time to trying new things and taking risks, even if it leaves you with an ice cream stuck up your nose. Words by Isha Shah

day tracks to look out for: Infinity

The Opposite of Everything

Starts off with a completely different sound, you wouldnâ&#x20AC;&#x2122;t really expect them to be your standard pop punk band as they take a rockier edge to them and loose the annoying, whiny vocals.

Takes you back to partying in a skatepark just like in a SUM 41 video. Alex Hardimentâ&#x20AC;&#x2122;s vocals are harsher and angsty with every bite while instrumentally the band adopt the fast pacing of todays pop punk. A certified song that gets you dancing round the house with gang vocals.

e l p m e T rdens a G tracks to look out for:

Harry Mitchell - Lead vocals/Guitar Will Nash - Saxophone/Clarinet/Vocals Oen Biggs - Bass Guitar/Vocals Joe Lewis - Drums /Vocals Adding a modern touch to bluesy rock ‘n’ roll, Temple Gardens are an innovative addition to the Brighton music scene. The incorporation of a saxophone and clarinet is completely different to most of the music out there now. Vocalist Harry Mitchell’s husky, yet smooth vocals compliment the soulful saxophone, giving a jazz feel to their music. Their debut

Unlike you

Render Me Unconscious

The beautiful lyrics of this song are a highlight, with vocalist Harry Mitchell delivering them perfectly, with his gravelly, yet smooth voice.

With an opening that sounds very similar to Kings of Leon’s ‘Talihina Sky’, this track is smooth, rock ‘n’ roll at it’s best.

EP Sandpaper Lies, released in November last year seemed to be inspired by Kings Of Leon. There was also much of the EP that sounded psychedelic, similar to Pink Floyd and Jimi Hendrix. Despite only having one EP, the four-piece’s live performances are tight, energetic and full of passion. Their release show in November at Bleach, Brighton drew in a large following of fans, showing promise for this band, even early on. Whether a fan of the genre or not, Temple Gardens are a band to see live, just for

their heartfelt and soulful performance. The band, who have previously done gigs for charity, are currently working on releasing their debut single which will be released during 2016. Combining jazz, blues and rock ‘n’ roll in the most inventive way has paid off for this four-piece and are definitely a band you need to check out in 2016. Words by Chloe Rose Eaton

e f f i l c t h g Li tracks to look out for:

Not Me Now here’s a song that you will never get sick of hearing, I can assure you this as it has been playing on repeat for the past hour or so. Lightclifffe brings sounds to the UK, that we envy

2016 - Present

music.

Theo Byrd - Vocals and guitar Benedict McDowell - Drums Jimmy Burgess - Guitar Alex Reed - Bass

The band currently have three tracks recorded and mastered, waiting to release these treasures to the public, ‘Not Me’ is the only glimpse of excitement you can get stuck into. Evident within this one song, the four young guys draw close influences from Seaheaven, Prawn and Wild Nothing. Although these American bands have a strong presence amongst us UK lovers, Lightcliffe ascends to bring these revered sounds from the comfort of our own homes.

Fresh to our faces, the ‘sad song’ emo band from London, Lightcliffe are making a firm impact to our ears with just one single. Mates forming together and sharing ideas sparked the birth of the four-piece, which just wanted to play something a little different, and share this experience with some friends. It’s never any surprise how solid the UK scene has become, opening its doors to fresh bands by the second, we’re never short of motivating

Their music is delicate in parts but also heavily drowning vocally. Vocalist Theo Byrd has a beautifully powerful voice that collaborates perfectly with the bands instrumental

from most emo American bands. The track is so perfectly constructed that it could only be mastered from pure talent. Weighing heavily on the instrumental side of things, its melodic dominance shapes the band, filling in for the lack of vocals that are strung so delicately.

presence. Lyrically, Lightcliffe follows similar dark feelings of loneliness, isolated life, and the need to matter. Not to dampen your mood too drastically, their music leaves you feeling somewhat satisfied and relaxed. Planning on recording a five track later this summer, there’s even more to come with the quartet as a split is in talks towards the latter end of the year. If all of this excitement is too much for you and just can’t wait to see them live, then you won’t be waiting long. Lightcliffe are in the process of booking shows for March/April with potential UK/EU tours in the summer. Words by Isha Shah

Photos by Jamie Davies

exitbla mistakes

Breathe

Enchanting and ethereal, ‘Mistakes’ begins slow and steady with Bignell’s powerful vocals taking centre stage. Introduce a solid riff and it kicks up a gear, the repetitive chorus of “it’s alright, it’s alright, it’s alright, it’s alright now” gluing itself into your brain, leaving you singing along from the first listen.

Smoothly following on from the intro track of Predators & Prey, ‘Breathe’ is like a kick in the backside – yet in a good way, as if you’ve been needing this all your life. Very Royal Bloodesque, the riffs and vocals create a rough edge that effortlessly carries you through the track, until of course your mind is fucking blown to smithereens at the insane guitar solo that rips right through the middle. Instrumentally, this song tops some of the greatest rock tracks out there to date.

tracks to look out for: 2014 - Present

anthemic rock.”

Tony Bignell – Vocals/Keyboard Joe Devine – Guitar Jamie Byrne – Drums Henry Green – Bass

Previously called Gamble Street, Joe Devine, Jamie Byrne and Henry Green were seeking a change from their indie sound, instead wanting to go down a rockier route which meant looking for a new vocalist: in comes, Tony Bignell. You might even recognise him; he once starred in CBBC’s Stupid, along with playing Matt Cobbett in the BBC 3 (RIP) comedy, Coming of Age. The acting days are long gone now though as an advert on Gumtree led to a successful audition, thus Exit Black were born.

Not many good things have seemed to stem from Luton: firstly, there’s Charles Bronson – the most violent British prisoner, then there’s EDL’s founder, Tommy Robinson, and the worst of all… one quarter of Union J. However, Exit Black are here to prove that it’s not all doom and gloom as they pump out “hard-hitting,

The band cite a variety of different influences with their music - from Royal Blood to Stereophonics - yet Muse is the biggest of them all. Green “is like a mini Matt Bellamy, always strutting around the stage like a don” but it’s the band’s enormous sound from just the three of them that Exit Black try to emulate. Having been together for only a couple of years, the band already have two EPs under their belt. Their debut, The Sound, was highly received by fans and critics alike, with Kerrang! even warning, “Dear Twin Atlantic, this lot

k c a may steal your thunder…”. They’re not wrong– the latest release Predator & Prey secures the band’s spot as an up-and-coming act to watch out for. Both EPs were recorded by Justin Saban of Latent Lemon Audio; he helped the band to discover their sound by pushing them to their limits and the hard work paid off considerably. Big riffs fuel each EP with Bignell’s vocals soaring above the tight sounds; there’s something fresh and exciting like nothing you would have heard before which makes them so unique and memorable. Exit Black have supported bands such as The

Pigeon Detectives and Toploader, and last year recorded four live videos with BBC Introducing which is a huge feat for a band so new to the scene. There’s no denying that this is a band to keep an eye out for as this won’t be the last time you read their name, trust me. Catch Exit Black at one of their upcoming shows:

9th April – The George, Luton 22nd April – The Spice of Life, Soho 28th May – The Esquires, Bedford (supporting Missing Andy) 4th June – Stadium of Light, Sunderland Words by Harriet Stanley

27th Feb – The Rafters, Maidstone 11th March – The Islington, London 2nd April – Hawthorns, Glastonbury 8th April – The Tin at Coal Vaults, Coventry

FEATURE

jenny mccord Behind the lens I’m Jenny, and I’m a London based music and lifestyle photographer. It was actually kind of odd how long it took for me to connect music and photography. Growing up I’ve always loved music, I probably love it even more than photography, but at the same time I also grew up always wanting to take photos. On school trips I was the kid who had that disposable camera and would have shot the whole roll before we’d even gotten off the school bus. When I was 16 I was volunteering on the Wembley To Soweto project and assisting photojournalist, John Cole. It was the year of the Olympics and we got the opportunity to shoot the torch arrival concert at Hyde Park. It was the first time I’d ever shot music, apart from sneaking my crappy little point and shoot into gigs, and it was amazing. I remember we got to shoot side of stage for The Wanted - the sun was going down and the crowd was singing the words back at the band and it was perfect, that’s when it clicked. After that I didn’t actually start shooting music till I was 18 thought. Currently my set up is a D810 and D600 with a sigma art 50mm 1.4 a Nikon 24-70mm 2.8, a Nikon 14-24mm 2.8 and an sb800 flash gun. Bands I love photographing would definitely be Frank Carter and The Rattlesnakes, The Dillinger Escape Plan, HECK, Vanna and Being As An Ocean. Ooh and Create To Inspire, those guys are so awesome and shooting them is super fun. The thing I’m most attracted to photograph is emotion. When people look at my work I want them to feel something. (Whether I meet that aim or not is something different entirely but I think it’s a good goal to work to.) With live music, especially in the alternative scene, you’ve got a bunch of people from a load of different backgrounds that have all come together because this band, this music, makes them feel something. You’ve got kids screaming lyrics back at a band whom they’ve most likely never met before but whom they’ve connected with because that band wrote a song that spoke to someone. I think that’s real magic. I’ve done and still do a wide variety of photography

work, most of which is portraiture based. Right now I’m working on two projects: ‘Beneath Skin & Sheets’ is based around the idea of human intimacy and exploring the beauty in vulnerability and honesty. The second is still very much in the planning stages but the idea is for it to be a documentation into the people involved in assisted dying; from individuals that are considering ending their lives in clinics such as those found in Switzerland to the medical professionals that aid in the process. With the ‘Dignity In Dying’ bill and project being so centrifugal at the moment it just seemed like a project that should be undertaken. Bucketlist bands: Jimmy Eat World, Emarosa, The Dillinger Escape Plan ( I’ve already shot them but I just want to shoot them forever). Tours I’ve been on includes Being As An Ocean, Capsize, Crooks, Vanna, Create To Inspire, Shields, Your Illuminations and Palm Reader plus a few others. Tour is probably one of my favourite things ever; largely because you get to document the raw and human side of music and performers in a way you just don’t have access to when you shoot a live show. The late/no payments and lack of respect is something all photographers will unfortunately experience at some point and as angry or upset as I’ve been at those people in the past, it’s just a huge learning curve and they taught me how to respect my work and to avoid anyone who doesn’t, regardless of who they are. The sexism thing is something I definitely think should be addressed. I could talk about this for a while but I’ll try and keep it short. One experience I had involved security not allowing me backstage, (I was on tour with the headline band) regardless of the fact that I had my tour laminate on me, because they thought I was a groupie. I think it’s also hard when you have a romantic relationship with someone in the industry because people will just view you as ‘that band member’s girlfriend who has a camera’ rather than someone who is a professional individual with a career of their own. It’s just not cool. Words by Jenny McCord

Photos by Jenny McCord, Background photo by Jess Latone

FEATURE

supporting your local scene It’s never been easier to get stuck in and involved with your local scene. Social media plays a greater importance in a bands life than anything. Everything starts off with selective people who truly believe in what you do, once you get your head round that nothing is stopping you from succeeding. There are a few things that we all, music fans, promoters, musicians can do to help each other out, and really improve the scenes that surround us. When it comes to hitting it big and getting them stadium support slots, it’s all about the bands presence online and in real life. It’s not necessarily about how good and talented you actually are, but how you interact with your fans. There is nothing more important in a bands’ life than their fans, as they essentially reflect the bands’ persona and music. If you have a bunch of screaming fans that are under sixteen and will attend every show you headline or even support, then record labels and promoters will pick up on that and start giving you bigger opportunities.

Not to say that you need a large following of fans to scream your name a hundred times between songs, but treating your fans like they are humans will encourage them to devote their lives and money to you. Saying that, social media should not be the only thing you reply on. Don’t think for a fact that sitting on Twitter all day and trolling some trolls will make you the next star, because your online persona does not reflect well in real life. Make sure you keep your networking up to date. Reply to tweets that are relevant, update your Instagram, post Facebook statues that track your time in the studio. Put effort into letting the world know how well you are doing, and always say thank you to those who have bothered to share your music. There’s nothing worse than ungrateful musicians who take people for granted. You may think that slating bigger bands, or those who you played a show with last time are shit, but all these negative comments will reflect badly on you and your band. No one likes

to see bitter, jealous and ungrateful teenagers who have nothing better to do but bitch and moan because they didn’t get nominated for a Kerrang! Award but their rivals who worked so hard did. Do something about it, be proactive and support those who are striving for the same goal as you. Never, ever see things as being in a race or competing. Sure, there is some level of competition, which can be good as motivation, but seeing other bands as your rival enemies is never a good sign. Make friends with the bands who you share your stage with. It doesn’t matter if you think they’re shit. If they’re headlining a sold out show and have a large following and you have the opportunity to support them, get to know them, make them feel like you are on their side - not trying to steal their limelight. I mean if they are really shit and horrible people then they have nothing going for them, and they will be the destruction of themselves, they don’t need any help with that. So if you’re in a band or a small promoter, do not bitch about the bands you work with, because in a couple of years time

"supporting your mates is probably the one thing we all need to do a lot more"

you may lose out on supporting Deftones.

most important thing you can do.

Don’t expect to get everything for free. When you’re playing shows, or going to them, don’t be that annoying friend and ask to get in for free to every show. Bands and promoters lose out on more money than they put into running a show, so spend your £5 on a gig, I’m sure your stomach won’t mind missing out on a footlong Subway for the night.

Being part of the scene and local communities drive from which your mates are. Who you hang around with shapes who you are. No one has too many friends, so if you’re at a show and you keep seeing the same faces pop up, have a chat with them, and at least you know you have one thing in common. From there, you will be introduced to a whole new wave of people, who will introduce you to their people and you may even find out the person you went to secondary school with now likes the same music as you. Scenes strive off newbies, and new voices, so don’t be afraid to worm your way in.

We all hate going to gigs alone, but in this day and age, who the fuck cares. No one who goes to shows is entirety alone, you are all there for the same reason, and to see a band you love play. It’s easier said than done but if you are at small shows, then the chances are you will bump into the band wondering the venue, trying to find the local McDonald’s. Speak to them at the merch table, tell them how good their set was, and interact with them. Bands may deny this, but they love hearing how great they are, they love hearing that they have made an impact on someone. You never know until you ask, and building relationships with new people is the

Contact building also swings both ways. You may be a young journalist who one day writes for Upset or DIY mag. If you’re nice to your fans and help them out, the same way they helped you out, you can exchange skills for each other’s benefit. Take your local photographer on tour with you; let your mates interview you for a small zine they run. Allow your creative mates to feed off your music, because in the long run

they could be the very reason why you are now touring America with Brand New. Supporting your mates probably the one thing we all need to do a lot more. You can easily support people who you admire and love, so bringing a little bit of attention to your friends who are now starting a Swedish death metal band, could the most vital part in their lives. You don’t necessarily have to like or love what your mates are doing, but showing them your support and belief keeps them going. Share their new EP, music video; tour poster on your timelines, telling other bands/creatives about them is just as important. Just because you don’t like them, doesn’t mean your other mates won’t. So, what I’m trying to say is just don’t be a dick, being nice cost nothing, being a twat can cost you everything. Words by Isha Shah

Photo by Isha Shah

opinion which

90s Let me just get one thing straight before I write this. The 90s was a seminal period for music, video games, film, culture and the last true era of pre social media takeover, which due to the evermore changing and reliance of technology, none of us will ever see again. That being said, repeating the same music styles from the 90s is a trend that for some reason no one can seem to shake. You’ve got certain bands rehashing Shoegazing in a mediocre way, which has seen hardcore kids, try and search for the dankest LP pressings of Loveless. You’ve got hardcore bands practically stealing riffs from Earth Crisis along with other straight edge metalcore groups. You’ve got emo revival bands trying to squeeze all the nostalgic juices out of Mineral and American Football. You’ve got modern day NME indie bands like Swim Deep and Peace trying to milk the 90’s for all its worth. You’ve got punk rock bands shamelessly ripping off old school AFI and heavily sighing when someone mentions Decemberunderground to them. You’ve got a shit tonne of electronic music nowadays taken from video game samples and DJ’s sampling other totally different genres of music from this era.

Heck, you’ve got practically an entire hardcore genre around what Entombed were trying to do on Wolverine Blues. If you honestly think I’m overreacting to any of this, just take a look at any modern Rise Records band and you’ll notice that so many of them were inspired by the nu-metal phase in the 90s as well. I’m not necessarily saying all these things are bad at the end of the day. I’m currently sat here in my Smashing Pumpkins top and my father’s flannel shirt, sipping black coffee out of my Twin Peaks mug. But like with literally everything in life, moderation is the key. The aesthetic of DIY shows and promoting through literal word of mouth is something that rarely happens anymore as well without the crutch of technology. Last month Glassjaw did an intimate show at Old Blue Last in Shoreditch where they politely asked fans to hand in their phones at the door, a step that ironically caused some backlash online but it makes you think. The 90s genuinely was the last era that captured a sense of freedom away from the rest of the world and some might even say there’s a sense of innocence to it. There’s bands like Nothing and Milk Teeth who

trend will fans be jumping on to next? do the whole 90s inspired thing really well by taking the best elements of groups such as Dinosaur Jr and Sonic Youth, and enhance it in a new refreshing way. I’ve already talked about this era bringing out some of the worst band reunions known to mankind in a previous article, but somehow I feel like if fans who were never around to see bands in their heyday are upset that they aren’t ever coming back then they’ll just badly try and emulate everything around them. Thank God Neutral Milk Hotel only came back for a few years and actually did their 4chan fanbase some justice for once, but of course that didn’t stop a pletura of bad indie acts trying to be just as loveable and quirky as them. It was a fantastic time for culture, but it needs to be taken with a pinch of salt. If you water down an era too much you lose appreciation for what’s already around you and try to recapture the past in way where it eventually loses all likeability. Words by Aswhin Bhandari

Photo by Isha Shah

FEATURE The hardcore scene, and aggressive music in general has always been associated more with guys than it has with girls. Unfortunately, there has often been this unfair treatment towards women in hardcore, with some stupid idea they’re not ‘tough’ enough to be playing in bands and jumping on people. Let’s talk about some female fronted hardcore bands that you should seriously check out -if you haven’t already.

FIREWALKER Boston, Massachusetts based band Firewalker play minute long songs of fury filled hardcore. Frontwoman Sophie’s low pitched screaming vocals are pure furiousity and truly stand out. They are unlike anything you would have heard before, but they’re raw as hell. Check out their demo which was released in October last year. LISTEN TO: Don’t Cross Me

I.C.E Based in Washington DC, this four-piece recently played FYA Fest in Florida with many other great HC bands, including Turnstile, Blistered and All Out War. Playing with an excellent use of groove and mosh parts, as well as vocalist Nixon’s angst filled vocals and lyrics about being the “coldest bitch you ever knew.” I.C.E are definitely worth checking out if you’re into The Rival Mob and Trapped Under Ice. In fact, TUI vocalist Justice even does guest vocals on one of their songs. LISTEN TO: ‘Colder’

ITHACA Nerve rackingly excellent London band Ithaca are truly one of a kind in this scene right now. Playing a frantic, mathcore influenced metalcore, they mix thrashing, hectic fast parts with creative breakdowns and a lot of emotion thrown in, both lyrically and musically. You’ll want to throw a chair across your room halfway through a song and then cry in the corner by the time it’s finished. Ithaca are playing Amongst The Chaos fest in March at The Joiners, Southampton. It’s going to be a rager, make sure you watch their set if you’re coming. You won’t be disappointed. LISTEN TO: Otherworldly

G.L.O.S.S. “THEY TOLD US WE WERE GIRLS/HOW WE TALK, DRESS, LOOK, AND CRY/THEY TOLD US WE WERE GIRLS/SO WE CLAIMED OUR FEMALE LIVES/NOW THEY TELL US WE AREN’T GIRLS/OUR FEMININITY DOESN’T FIT/WE’RE FUCKING FUTURE GIRLS LIVING OUTSIDE SOCIETY’S SHIT!” are the madly screamed opening lyrics to this amazing Olympia, Washington band’s demo. And yes, they’re written exactly like that on their Bandcamp. These trans ladies gained lots of attention after being referred to in a series of disgusting, transphobic tweets from thenpopular shoegaze band Whirr, whose career has since crumbled. They play with immense passion, busting out fast, feminist hardcore with lyrical themes about growing up as an outcast and dealing with random creepy dudes in the street. It’s brilliant. LISTEN TO: Outcast Stomp DUSTED Hailing from Plymouth, UK, Dusted play a blend of traditional 00s hardcore with a strong beatdown influence. It’s heavy, and it’s hard, and the vocals are perfectly suited to the music. They’ve played with the dudes in Grove Street Families and Tempers Fray, and are worth a listen if those bands are your thing. They’re also playing Shedfest in Leeds during April. Go check them out if you’re going. If you live in Plymouth and you’re not going to the many local shows held at the Underground, you’re missing out. You can watch a full set from Dusted playing there on the Pit Cameraman’s YouTube channel. LISTEN TO: WASTER (demo)

VENOM PRISON Fronted by the ex-vocalist of Wolf Down, Venom Prison play a brutal crossover between death metal and hardcore, with fast riffs and firing blast beats perfectly mixed with crushing breakdowns that will turn any floor into a warzone. Originating in South Wales, the band also recently played with death metal legends The Black Dahlia Murder. They’re playing at the Knuckledust all dayer show in February, Cruel Intentions Fest, Temples Festival and many other cool shows this year. Don’t miss them. LISTEN TO: Daemon Vulgaris EMPLOYED TO SERVE Basingstoke band Employed To Serve play a Dillinger Escape Plan influenced mathcore take on hardcore, and it’s bonkers. Aggressive madness best describes their sound, with fantastic musical complexity that is often not expected from this scene. Their most recent release, Greyer Than You Remember, is one of the most hectic UK LPs that came out last year. With brilliant vocal, guitar, drum and bass work, this band will be right up your street if you’re into hard hitting audible carnage. They play Amongst The Chaos with many other incredible current UK hardcore bands such as Renounced, XRepentanceX, and also the previously mentioned Ithaca. LISTEN TO: Watching Films To Forget I Exist By Seb Catmur Wawryk

suppo

ort women in

ardcore Photo by Ryan Dalton Rodrigues

interview

hinds

â&#x20AC;&#x153;a massive thank you to in what we were doing 28

sights 2011-2016

o anyone who believed

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Photo by Gingerdope Photography

interview

Last shows always end up in tears and weeks filled with denied tweets and Facebook posts about how much you miss your beloved band. Hindsights called it a day as 2015 closed and 2016 welcomed them with one last show at London’s Boston Music Rooms. Offering a 14+ show and great sound, the venue was chosen for all of Hindsights friends and family could enjoy giving them one final send off with the greatest company and sound. Having a little chat with vocalist Benio Baumgart about the bands discovery and reminiscing on those golden moments, we take a look at the life and death of Hindsights. When it comes to playing your last ever show,

you don’t just get lumbered with any odd support acts, Landscapes and Bad News were chosen for a reason, being great friends of the band as well as talented musicians that too have gone unrecognised for their exceptional gift. The sold out show can only be described as “the icing on the cake,” according to Baumgart. “We’re all really proud of how far we managed to get. Although sad, we loved it.” Although the split may have seen really sudden to fans, the band wanted things to move as quickly as possible. “In all honesty once we all knew it was happening we just wanted to get it out there rather than sit on the news for any amount of time. It’s not worth prolonging something like a split,” he continues.

Being a band a band since 2011, there are a lot of things you learn along the way, such as “Making a decision and sticking to it together is the way to go,” and “Playing The Haunt in Brighton with Gnarwolves on their first headline run was really cool. Biggest show we had played!” Spending a lot of the time on the road and traveling are bound to be some of the highlights of touring, the only downside is seeing these cool things from the window of the van as you pass by. The excitement of being in a new city every night is certainty something you would never get tired of, as Baumgart tells us. Being on the road can be described as being quite a hectic, however Baumghart disagrees. “I suppose it doesn’t seem that hectic when

"We're all really proud of how far we managed to get. Although sad, we loved it."

you’re doing something you love. Being in a band is about being creative, meeting new and interesting people and having fun. If it’s not about those things, you’re doing wrong.” Staying on the positive sides of playing g a show every night, setlists are highly important to a bands overall live performance, but are the songs we love to hear over and over again, the same the band actually like to play? “‘Wither’ because it was the newest song and still felt fresh, but also ‘Sore’ because I got to hit a drum.” 2015 had been a year held responsible for a mass of small, local band break ups. “Maybe 2015 was just cursed to be this sort of year?” he begins. “I don’t really know, maybe it’s because

so many bands get everything handed to them on a plate, it’s hard for the ones that don’t to remain motivated? No one can really know.” With the scene constantly growing, it’s never been more important to support those round you and attend these small shows that are happening every week, put on by mutual friends. Break ups don’t always have to mean the end, it can very well mean the beginning of fresh new perspectives which could grow or shrink, all depending on those who are willing to support what they believe in.

started work on new music but we both have no idea when that’ll surface,” Baumgart may still not be over Black Sabbath’s departure, but you haven’t heard the last of him just yet. “A massive thank you to anyone who believed in what we were doing,” Baumgart adds. Interviewed by Isha Shah

If you’re all still sad and want to hear what has come out of Hindsight’s breaking up then you won’t have to wait any longer. “Tom and I have

ALBUMs

wolf down incite and conspire

6/10

Wolf Down appear to many as being a band that just...exists. Whilst it is true that the German hardcore mob’s debut full length was a decent slab of metallic hardcore, Stray from the Path showed a band running some well worn tracks. With the departure of vocalist Larissa in 2014 Wolf Down changed direction. After the 7 minute Liberation EP showcased music that fed both from the polarized style of hardcore and the rougher more caustic sounds of the German scene, many an appetite was wet for this release. Incite and Conspire pulls no punches with what it is. A fist pumping and anthemic album that seems to create hooks and atmosphere from nothing, even if that atmosphere is thick with the scent of dissent. ‘Against the Grain’ starts the proceedings off at a high level, following the instrumental and Soviet Russia-esque ‘Barricade Fever’, a hard hitting affair that shows

that Wolf Down have well and truly re-arrived back into the scene. Both ‘Protect / Preserve’ and ‘Invisible War’ keep the tempo and angst up, with the latter having some of the most well crafted production seen in hardcore. But then ‘Flames of Discontent’ hits, and Incite and Conspire reaches another level. A track that is simply and brilliantly crushing in all of its elements, from the gritty guitars to the relentless pound and echo of the drums, for this track alone Incite and Conspire is worth your time. The following trifecta of ‘At Daggers Dawn’, ‘Incite’ and ‘Conspire’ does however throw a spanner in the works. Alone these tracks are solid outings and even if they were placed together on an EP it would be well worth the pressing costs, but an album needs to have narrative and flow. With the use of even subtle

Photo by Anne Carolien Köhler via Wolf Down: Facebook

dynamics, imagine what could have been if there was a slower paced track before the dual title tracks, rather than the 30 second interlude included within ‘Incite’. That scathing riff would hit ten times harder. Yes it is a well worn fact that hardcore almost relies upon cranking it to eleven and keeping it there for the time length on a 7”. But on a full length release there needs to be something extra to be able to pull in an audience. As brilliant and huge sounding as some of the tracks on Incite and Conspire are, ‘Flames of Discontent’ comes to mind here, in the overall workings they don’t have the full effect that they could have. Given some room to breathe these tracks would be able to mount the earth. The remaining tracks continue in the same vein as those previous. Albeit with the odd placed ending to album closer ‘The Fortress’. After a

downtempo riff that would be a logical way to end the album, there is chorus of banjoâ&#x20AC;&#x2122;s and a chucked in political message. A messy way to end this album that will only raise eyebrows amongst most listeners. When Wolf Down manage to get that blend of hardcore to a perfect point you want them to release something extraordinary, you want to see the band grow and mature and take on the mainstays of the genre. That air of homegrown talent amongst the chaotic hardcore backdrop makes the band feel underground and a cult. Even with the clean production behind it Incite and Conspire lacks that last little push to put Wolf Down in the big leagues. Words By Jack Webb

ALBUMs pretend happy tired eyes

9.5/10 Jumping right into their first full length, Devon’s Pretend Happy strives with a great deal of confidence, releasing Tired Eyes. Formerly known as Framework, the band capture perfect elements of the punk/grunge genre, creating an album that not only holds potential to be the album of 2016, but the record of this era. Totally unexpected to be a debut, the trio have hit every single nail, perfecting sounds that take bands years to master. After simmering for some time now, the guys headed to the almighty The Ranch Production House in Southampton, working with Lewis Johns (Gnarwolves, Funeral For A Friend) and Ben Marks. Their creative juices were sure to be squeezed out, and with such a great production team backing them, the band delved deep into their creative mindset. ‘Sink’ brings you into a subtle intro, where frontman Jack Brown truly welcomes you with his warm vocals. Simple, yet soothing guitar chords are repeated while the song builds tension, joining forces with the loud crashing drumbeats and heavier electric sparks of the guitar. Transitioning between songs seems to go undiscovered as ‘Hellp’ develops Brown’s powerful vocals. Bouncing with adrenaline, ‘Tired Eyes’ follows a Hindsightesq theme, taking the sad emo vibes all on board without depressing your ears. There’s this remarkable consistency within the record that allows you to become fully invested within each track, as they leave an imprint within your

Photo by Isha Shah

brain. ‘Save Me’ is the track you’d find yourself clicking that repeat button to, with its highly addictive chorus. The UK emo/grunge scene is forever growing, and Pretend Happy seem to apprehend all current sounds, clasping them into each song, creating music that may not be 100% new, but gives you goosebumps. Leaving a strong impression, ‘Iced Teeth’ packs a punching chorus that grabs the alt grunge scene by the shoulders throwing you off guard, but also making you jump with joy that a band of this decade has finally seized. Pretend Happy share a collection of personal experiences over the course of the last year and a half, producing an honest piece of work, tackling all things grey.

‘Dirt’ closes the record with a heavy start, before the vocals dominate. Instrumentally it takes a darker stance, with creeping guitars and a lead focus on the drums; Brown’s vocals soon become washed away and consumed by the guitars heavy bass line. Normally within the record you find songs that overpowers the whole thing, leaving you with missing gaps only moments after just listening to them. Pretend Happy give equal weight to every single sound heard. It’s so refreshing to hear an album that has such an impacting finish to your ears, but also leaves you with ten new songs that are easily remembered. ‘I’m Home’ adds harsh screamed vocals to it’s grunge based structure, while ‘Turnover’

turns heads completely with its bottomless bass line. Slowing things down with ‘The Arsonist’, the band use their plot twisting skills to lead a booming outro, releasing the weight off their shoulders screaming “I DON’T FEEL ANYTHING ANYMORE.” Ten full tracks of pure gold, is the only fair way to sum up the Tired Eyes. The band has the greatest potential to be the band of the year as well as moving onto your list of new favourites. The record grows with each song. Slowly developing their absorbing sound, the record leaves you feeling complete. Words by Isha Shah

singles

redwood fell in love with a daydream ep

three doors down in the dark

7.5/10 An early Christmas present if you ever needed one, alternative fivepiece Redwood decided to drop three-track acoustic EP Fell In Love With A Daydream on Christmas Eve. If you needed any more convincing, you can download it for free, or name your price to support the Hertfordshire band. The EP opens with ‘Starving’, featuring soft vocals and a smooth trumpet that begins the track. Powerful gang vocals border on beautifully haunting against the gentle, raw strumming of the acoustic guitar. At only 1:40, ‘Starving’ is a nice introduction, easing in to ‘Vermont (A Lighter Shade of Blue)’, faster and more

upbeat, the stripped-back vibe. If at times a little repetitive, the overall impression of the song is that of beauty in its artistry. The final track in the EP is a live performance of ‘Yellow Light’, which highlights perfectly the quality of performance the band gives, something that without doubt equals what they deliver in a recorded setting. Overall, Fell In Love With A Daydream is a great listen, with each song offering solid vocals and echoing guitars. It is nice to see diversity in music style, which is something Redwood have demonstrated their ability in. Words by Adrianne Goron

frameworks time spent

The 90’s post-grunge quintet are back with ‘In The Dark’, ahead of the release of their sixth studio album, Us And The Night. The new single is far more upbeat than the tracks found on arguably the band’s most popular release, Away From The Sun. Brad Arnold’s emotive vocals are still prominent but have a slightly different feel as the song is not as sombre as the Mississippibased group’s usual sound. There’s no doubt the band fit nicely alongside other postgrunge groups such as Creed and Staind, as they have a very similar sound. There is also a likeness to Nickleback, especially the similarity of the subject matter in their lyrics. For example, “by the time the sun goes down/you won’t know who you are/ she likes to do it in the dark” are lyrics very reminiscent of those heard in ‘Animals’ by Nickleback. With grunge being popular again, perhaps there is space for some post-grunge in the form of Three Doors Down. Words by Chloe Rose Eaton

nycosia miscommunication

7/10 Frameworks’ debut LP - 2014’s Loom - was an excellent addition to the recent wave of screamo bands that seem to have emerged from the USA. It differentiated itself from the rest of the pack with its slightly experimental songwriting and subtle blues influences. The record put Frameworks firmly on the map, and if it weren’t for its poor production, might have seen the Florida-based quintet catapulted to the heights reached by contemporaries such as Touche Amore and Pianos Become the Teeth. Fast forward to 2016 and their new EP Time Spent sees the screamo outfit appear to actively challenge and improve upon where their debut LP faltered. There has been a noticeable makeover in the

production department with the instruments sounding a lot clearer in the mix. This pays dividends to the band’s dynamic songwriting, as moments such as the build-up of the outro on opener ‘Worn Out’ as well as the clean section of the titletrack become more impactful, with a thick bass sound underpinning the rest of the instruments. With only two short songs on display, Time Spent serves as more of a teaser for what’s to come rather than anything substantial for fans of the band to cling onto. However, the material is strong enough to excite these fans, and with the band’s new and improved production style, the future looks bright for Frameworks. Words by Lewis Edwards

‘Miscommunication’ is brutal, raw and defined by an assuring down-to-earth whilst unmistakably charismatic criticism of capitalism. Nycosia fall not far behind their influences in Northlane and Oceans Ate Alaska and are one step ahead from any usual genericisms of ‘D-jent’, braving a more organic sound which rises the single above the graveyard of noise that infiltrates a somewhat notorious genre. Taking strengths from the stretches of Bring Me The Horizon’s Oli Syke’s progression in style, the unclean vocal sound Adam Barkley (Nycosia’s vocalist) delivers is consistently reputably developed into a subversive narrative voice, that carries across personal yet political messages in the reaches of Architects’ influential lyrical prowess. This barren but painful truth epitomised into an emphatic progressive-tech-metal stab at society is Nycosia’s debut single from upcoming EP Pariah, which is scheduled for release on 25th February 2016. Words by Arriana Corr

the black queen fever daydream

8.5/10 The Black Queen is one of Greg Puciato’s (The Dillinger Escape Plan) side projects and it’s far from anything you’d expect from his usual exports. Joshua Eustis, known for being a touring member of industrial metal band Nine Inch Nails and the current sole member of the electronic sounding Telefon Tel Aviv, accompanies him. They are also joined by The Dillinger Escape Plan and Nine Inch Nails tech, Steven Alexander. Together, they produce a melancholy, ambient, synth-pop masterpiece that harps back to the early work of 80’s electronic band Kraftwerk. ‘Now, When I’m This’, the album opener, is a purely instrumental

track that is soothing, ambient and has a slightly eerie feel to it, which really sets the tone of Fever Daydream. It leads on to showcase its very 80s sounding influences on ‘Ice To Never’. There are some very upbeat synth-pop elements that could even rival Chvrches’ catchiness. Puciato’s Mike Patton (Faith No More) style vocals add a raw and sexy vibe to the album, especially on ‘Secret Scream.’ There is also something very Marilyn Manson about the track, with obvious influences of Nine Inch Nails throughout. With it being a mainly electronic, synth-pop album, there are obvious influences from

Massive Attack and Depeche Mode, which is apparent on ‘The End Where We Start’. This track also gives Puciato a chance to showcase the softer and more soaring side to his vocal range, which he really excels at. It’s a shame the Californian trio’s debut didn’t come out when Zane Lowe produced the rescore of the Drive soundtrack, as this sound would have been a perfect fit and could easily compete with electronic band College. Despite it being an electronic album, you can hear the influence of industrial metal, with much of the album sounding more like the dark ambient side of Deftones and Nine

Inch Nails. The Black Queen is an innovative project, with very talented musicians who have excelled in producing a great electronic, synth-pop album. Whether a fan of the genre or not, anyone can appreciate Fever Daydream as a brilliant record. Words by Chloe Rose Eaton

petrol girls some thing 8/10 Petrol Girls are a feminist post and chaotic hardcore band that build tracks based upon political or timely messages. Some Thing is a concise EP that keeps the unnecessary additions of hardcore to a minimum. From the harsh vocalist to the loose yet worthwhile style of playing, Some Thing is a sub-10 minute dose of hardcore taken directly to the heart. Only three tracks in length yet showcasing a well crafted mix of hardcore against the more abstract elements in their arsenal. ‘Slug’ is packed to the brim with groove and emotion, yet it never becomes too much, The same can be said for the relentless ‘Separated a dissonant track that echoes back to the realms of late 90s punk. The vocals dig into your mind and are memorable, something that

Photo by Isha Shah

cannot be said for other bands in the same vein as Petrol Girls. The political element of the band is never the overwhelming factor of each track, rather it is about the music itself. Some Thing is a shoe in for one of the best EPs you will hear this year. Words By Jack Webb

the kaos

simmer

the philosophy

paper prisms

7/10

6/10

Bring Blink-182, Sum-41 and Weezer back to life as skateboard and beach-walk ready as they sounded in the early 2000s and here you have the opening to The Kaos’ latest EP: The Philosophy. Originally a 3-piece founded in 2010, the Oxford (UK) pop punk group gained popularity playing local shows and releasing undeniably feelgood songs that blend classic rock grooves with jump-around easycore breakdowns.

Californian sunshine sounding Blink-182 / Sum-41 / Simple Plan / New Found Glory (circa 1999-2002) hooks, The Kaos could pull off this unique blend off better than they have here - and maybe even better than Four Year Strong attempted on their latest release (Four Year Strong, Pure Noise Records, June 2015). Alongside this EP, single, ‘Don’t Leave Me Alone’ (The Kaos, February 2015) is a strong contester to prove this point.

Everything in their backcatalogue (and this release is no exception) is undeniably bouncing from start to finish with a happy groove and catchiness that rivals pop punk and easycore heroes of a generation. The Philosophy opener ‘Chowmein’ shreds through melodic pop punk lead-guitar goodness before dropping down into where the EP unpredictably ends up rocking out to confident but unpretentious classic rock.

With as much justice as The Philosophy does this fresh talent as a sampler - a longer release would be really exciting and could totally blow this band up, as the group have demonstrated some burning potential to rapidly outplay even some of the biggest names in pop punk. The Kaos, if they take their strengths combined to make something bigger - could be set to wreak havoc on the scene very soon.

Boasting a charming DIY ethic, The Philosophy may not be their best collection of songs to date – but definitely shows the band has matured a lot since their earlier material. Perhaps with heavier incorporation of their

It’s dangerous, and this EP should come with a warning label: anyone not prepared to get sucked in and rock out with no inhibitions should be afraid. Words by Arriana Corr

Whilst only having been around for two years, Simmer, a trio from Cheshire, have been building a steady following. Playing small gigs and supporting bigger bands like Moose Blood has allowed them to progress further, prompting them to release their debut album, Paper Prisms, which delves further into Simmer’s dark and melancholy side. As with past releases, Simmer are not afraid to put effects on everything they can touch. The vocals have been overly manipulated, making them almost incoherent. However, this may be a good thing because they don’t even make sense. Take the lyrics in opener ‘Faze’ for example: “Wild is blooming, gambling all, making love, I know”. Maybe they’re trying to be poetic, but it just comes off as utter bullshit. It’s as if some fresh-faced A-Level English student has just discovered Morrissey and wants to seem deep and brooding. Taking this into account, it’s best not to really take note of the lyrics, more the melody in which they

are sung. The vocal melodies add an almost lullaby sound over the distorted and effect driven instrumentation, creating a dreamlike sound shoegaze fans could have wet dreams over. Frontman Julius Schiazza said they wanted to make their music “progressive” and there are some elements of this. There are snippets of inspiration from 90s shoegaze combined with elements of punk. Compared to previous EPs, you could say this album has a clearer concept. The fuzzy, ambient sound continues throughout each track, which can seem a bit boring and repetitive, but this is the genre. Nonetheless, credit where credit is due, this is a tight and concise album, albeit perhaps a little uninspiring. It’s neither groundbreaking nor awful, but falls into a grey area of average albums. Words by Emily Gunn

b side ep

better than never

2.5/10

homemade hero ep

king no-one

7/10

Describing an indie-rock band as “generic” in 2016 feels about as lazy as describing a death metal band as being “heavy”, but laziness is sadly all too apt for bands like King No-One. ‘Stay Close’ is about as forced and forgettable as danceable nightclub indie can get, apart from arguably the single most ill-advised spokenword ever heard in the genre (nothing is less inspiring, moving, or dramatic, than a man in a half-unbuttoned shirt waxing lyrical about the subjectivity of time. Really.) While b-side ‘Say My Name’ offers a little more musically, with some genuinely effective guitar playing and more tasteful riffing, there’s no redeeming the vocal work of budget Alex Turner and his terrible pronunciation of the word genocide. Where other bands frequently sound like they’re bordering on parody, this surpasses anything else like it. Alex Turner is irritating enough without every

Photo by Isha Shah

bequiffed Fender Telecasterswinging wannabe in Yorkshire trying to adopt the same style. King No-One have stepped out of the realms of mediocrity on this release and into the unbearable shit-heap of bands like Catfish and the Bottlemen - so expect so see them on the main stage of Reading & Leeds sometime soon. Words by Joe Gilbertson

Launch 2015 favourites WSTR – in accelerated overdrive and pack in punches of weighted, meaningful depth. Dangerous energy punctuates practical poetry about everyday demons and disasters. Beneath cheer-up clusters of sonically sweet lead guitar, deeper chords resound. Rising over this, inventive responses to the typical causes of much anger frequently encountered in our current society are rallied across Man Overboard – A Loss For Words borderline, fast-paced catchy melodies – to get you going up about what gets you down. Homemade Hero despite its apparent influences, relays no American-Pop-Punk idolising cliché; although it does pay due respects to the genre. Neither is it a parody of itself, or trying to simulate any sort of heritage to UK groups following in the footsteps of Neck Deep. It also does not at any point, cruise through with the retro comeback. By no means is this to say that Better Than Never have established a league of their own, but the swerving rebellion from these prolific Pop Punk genre trends is dismissively reassuring. Pop is, however, unmistakably what this EP does best and where this is overshadowed by alt-rock attempts at originality in the first track, ‘Heads, Shoulders, Knees and Bones’ and later, ‘Panama’, Better Than Never come a little undone. James Harris (vocals) is unafraid, however, to

brandish his characteristic British accent throughout, as he roars imaginative scene-casting lines like, “Rolling away like a freight train…” and distinctively relatable self-disputes of, “I’m not sure if I’m just tired, or giving up” and “so I follow my dreams and I hate it, feels like my time here is wasted,” midway into the EP during their first single, ‘Back of the line, Kid’. Guitar strings later cast a woven glow of an interlude before the whole band is roaring back into a full-pelt incandescent comeback. Even as it wavers in chorus falsetto, never once does Harris’ organically ripped raw voice sound either unsure of itself or smite with overconfidence. With a “badadada” infectious vocal melody hook reminiscent of Paramore’s – ‘Brick by Boring Brick’, this (Back of the line, Kid) instantly impossible-not-to-singalong, adrenaline ridden Pop Punk fix is their strongest effort and leaves a lasting impression, which along with finale ‘Dead Weight’, elevates this Oxford, UK based group’s first studio attempt to at least 50% success. You can pre-order Homemade Hero on iTunes or download it from Bandcamp, which is engineered and produced by Neil Kennedy at The Ranch Production House (Southampton, UK) and scheduled for release by Fox Records for February 19th 2016. Words by Arriana Corr

poly-math melencolia

9/10 Mathrock and other such forms of music have come a long way since their beginnings, now the structure of math music is shifting from bands evoking such ideas as The Dillinger Escape Plan to bands that are creating musical landscapes under the guise of being able to do whatever they want because it is considered mathrock. Poly-Math is one such of these bands, a Brighton based three piece that melds together differing elements to create a wholly encapsulating composition. Whilst only three tracks in length, Melencolia is a musical journey

that moves and evolves in such a way that it is never boring. The differing effects on the guitars, especially on the opening track ‘Melencolia I’, helps build up the atmosphere that is pivotal to this album. Musical ideas are used in such a way that they reference previous passages and give the album a clear narrative even without the use of vocals. Never too overbearing and never too sparse, Melencolia is an impressive effort for a band on their second EP. Words By Jack Webb

day old hate first light ep

5/10

Appropriately named after the single and opening track (released on January 15th 2016), First Light does in part feel like it was written around the success of this song in isolation, and otherwise is disappointingly rather devoid of engaging content. Polished, big-studio-perfect production (by Romesh Dodagonda whose previous clients include The Blackout and Funeral For a Friend) cannot unearth potent melodies and captivating hooks. Disguised behind imposing, impressive delivery and talented musicianship of a post-rock Mallory Knox / Deaf Havana / Alexisonfire aesthetic,

First Light stands Day Old Hate on the verge of presenting themselves, as songwriters – confident, skilled and established - but unfortunately, a little empty handed. Oliver Swift (vocals) is not screaming for your attention. His soft, but deep atmospheric singing drifts calm clouds of smoky resonance over a romantic landscape of pristine lyrics. “Searching for hope is like listening for a pin drop,” He breathes into the composition, suspenseful before adding, “and I can’t wait for that,” striking resonance;

and within epic penultimate track ‘Minutes / Hours / Days’, inspiration is gazed upon, as Swift gifts us with, “I don’t care, as long as all my dreams come true”. These various cries ring over mountainous build-ups of sloping guitar riffs that often leave you suspended in a vast, timeless echo of dirty and clean melodies pondering wondrous reflections. As the alt-post-rock pop Day Old Hate have cast into the world with First Light is not drenched in angst and does not throw any lines to latch onto immediately, the release takes time to grow any

sort of attachment to and does risk soothingly otherwise passing by as a background mirage of pop-rock, narrated by a beautiful voice. But perhaps this is redeeming, as it makes the songs a little more replayable and worth their value. Not everything needs to be a catchy hit and sometimes it’s nice or actually necessary to be able to kick back to some driven alt-rock without feeling the need to hit the road or yell at the top of your lungs. Words by Arriana Corr

Live

the maine supporting mayday parade lemon grove, exeter - 26.1.16 10/10 It’s been a while since the Arizonian fivepiece have touched down in the UK, over a year in fact, and throughout that time The Maine have punched out their fifth studio album, American Candy. Therefore, it came as no surprise that they were more than proud to show off their latest creation to a room of both adoring fans and those who had never even heard of them before, until now. It wouldn’t have been right if the set didn’t begin with ‘English Girls’; the light-hearted humour of the chorus keeps the crowd on their feet, with vocalist John O’Callaghan proving that he can dance too (sort of). The song sets the tone for the rest of the set, high in energy as they power through both new and old to showcase the talent that they’ve refined over nine years of being a band. ‘My Heroine’ offers a cutting edge - the sharp riffs are more rock ‘n’ roll than the poppier ‘Diet Soda Society’ that follows, before all arms are up in the air as the famous intro of ‘Right Girl’ fills the speakers with O’Callaghan pointing at various unsuspecting fans as he sings, “Oh God, I did the wrong thing/to the right girl.” Nobody can fault The Maine for their crowd interaction and every person laps it up, including O’Callaghan himself as he prances across the stage with a variety of

interesting facial expressions. As they dip between American Candy, Pioneer, and Black And White, nobody is expecting to be treated to a forgotten gem from the very first record, Can’t Stop, Won’t Stop. Whilst most are familiar with the crooning ‘Into Your Arms’, instead O’Callaghan belts, “Oh she makes me feel like shit/but I can’t get over it.” It’s ‘Everything I Ask For’, the song that’s so cheesy and so lyrically inept compared to the latest record but for some reason it’s hard to not laugh along as fans yell, “Prada is what she wears!” It seems fitting, really, considering the next band to take the stage are the headliners, Mayday Parade, who often are a reminder of your pop-rock adolescence. The set is over far too quickly; it seems cheeky to want an encore from a support band but it’s difficult to accept that it’s over for now. Instead, hearts are breaking and tears are flooding as ‘Another Night on Mars’ punches you in the gut with its last words fading out: “This one goes out to my closest friends/the ones who make me feel less alien/I do not think I would be here if not for them.” Arm in arm, the whole room sings and everybody feels at home. Words by Harriet Stanley

mayday parade

Photo by Gemma Robinson

Live

s o t o h p in

neck

+ state ch

O2 for

k deep

creeper

hamps, + creeper

rum, kentish town 6.2.16 creeper

state champs

Photos by Isha Shah

Live

hindsights last ever show boston music room, london - 23.1.16 9/10

Just as the Berkshire five-piece were starting to gain some mainstream attention outside of the countless DIY punk circuits and tours they’ve been on, Hindsights decided to call it a day towards the end of 2015. Of course, being one of the most beloved bands in their scene, it would be wrong not to go out with a bang, so thankfully the Boston Music Rooms allows them to play a set that’s not only non barrier, but spacious enough not to feel like you’re going to black out and die any minute, or your pint is going to fly onto an unsuspecting punter. Added as main support, Landscapes open up their set with their usual angry finger pointy material from Life Gone Wrong, but you can tell that they’re fed up with it and can’t wait to get stuck in to new material, so of course they feel the need tease the crowd a bit. Needless to say, vocalist Shaun Milton never seems to hold back during live shows, constantly off the stage and swimming into the crowd amongst his adoring fans, some of which have travelled countless miles just to see them tonight. The crushingly heavy bass tones mixed with an almost Post Rock atmosphere shows that Landscapes are more than just your typical melodic hardcore band, and are genuinely captivating to watch live. Hindsights open with ‘Everything Inside Me Echoed’

from their first and only LP Cold Walls, with an almost deafening crowd response as they sing along with vocalist Benio Baumgart’s melancholic jams. At times it feels like there are far too many people on stage, with kids knocking over microphone stands, falling into the drum set, and pretty much eating shit as they stagedive, only to have no one catch them. Still, the setlist is phenomenal, even delving into some of the hits from their 2011 demo such as ‘Glistening’ and ‘600 Miles’, which thankfully the majority of their fans are familiar with rather than simply being old relics from the band’s angsty teenage years. Each song, while not without its well needed breaks inbetween, flows together effortlessly, and not a moment goes by where the audience isn’t on the verge of tears, or have already turned on the waterworks by this point. By the time the final few notes of ‘Grey’ have been plucked and they realise it’s too much effort to try and kick audience members off stage, the band and the crowd are equally as drained as each other. Like with many musical projects, we always sit and wonder what could have been if a band had continued, but alas we’re left with Hindsights’ short but sweet legacy. RIP you beautiful bastards. Ashwin Bhandari

Photo by Isha Shah

Live

s o t o h p in

gi + O2

Photos by Isha Shah

iants create to inspire islington, london 26.2.16

create to inspire

Photo by Derrick Wess

Live

alien ant farm concorde 2, brighton - 21.1.16 9/10 Despite being a sold-out show, Concorde 2 was not yet at its full capacity, however this doesn’t stop Welsh quintet The Dirty Youth from giving an astounding performance. The pop rock group have a very classic rock feel but also a modern appeal, especially with the vocals of Danni Monroe. As soon as she bursts on stage in a tight, patterned jumpsuit that any 80’s rock star would be jealous of, Monroe gives a performance that could rival that of The Pretty Reckless’ Taylor Momsen. Whilst it’s easy to compare many female vocalists to Paramore’s Hayley Williams, Monroe’s voice has an edgier, classic rock sound, similar to Lizzy Hale of Halestorm combined with Becca Macintyre of Marmozets. Musically, this group have a very rock sound, but there are also some dance elements within their music. Guitarists Matt Bond and Luke Padfield perform faultlessly, especially on ‘Alive’. They mostly play tracks from their latest release Gold Dust, including ‘I’m Not Listening To You’ and ‘The One’. However, they also have time for ‘Fight’ from their debut album Red Light Fix, as well as showcasing a new track titled ‘Hurricane’.

McPherson’s vocals ooze feeling and emotion throughout and it’s hard not to feel that emotion with the band. InMe’s choice of setlist is spot on, finishing on ‘Faster The Chase’ - arguably their most popular track. Once again the crowd are raging for this track and it’s the perfect end to their set, as well as their run on this tour. Finally, headliners Alien Ant Farm take to the stage in Concorde 2, with the venue now being completely packed. The nu metal quartet play through ANThology in its entirety, with it being 15 years since the album was first released. With that, the audience sing-along to the tracks just as much as vocalist Dryden Mitchell. Mitchell’s voice has a beautiful, unique and captivating quality that almost doesn’t match his tongue in cheek American Pie style humour. Just before they play ‘Attitude’ he dedicates it to his “mom”, who he says is probably getting drunk in L.A. right now. His cheeky humour is strange when he’s about to perform a song that is so eloquent and slow, but definitely works in his favour and makes for a very interesting transition from one song to the next.

Up next are alternative rock veterans InMe. Despite vocalist and guitarist Dave McPherson stating that they were sick and band members had been “dropping like flies” on this tour, they give a beautiful, flawless performance. With intricate riffs and vocals that could be likened to a British Kurt Cobain, the Essex quartet keep the audience captivated throughout. They play mostly old tracks, although the inclusion of ‘Hymn: Ivory Elder’ still seems popular with the crowd. However, it’s their older stuff that proves most popular, with the crowd going wild for ‘Firefly’ and screaming the lyrics right back at the band.

Once the band have played through the album, they play two other very popular songs ‘These Days’ and ‘Glow’. ‘These Days’ is extremely catchy and a song that is so easy to get into, even if you aren’t a fan. Before the group perform ‘Glow’, Mitchell’s cheekiness returns when he states, “this is the first song I ever wrote about a blow job.” The Californian quartet finish on ‘Smooth Criminal’, which is obviously their most popular song and sends the crowd into a frenzy. Nostalgia has filled the room and you can see the 20-somethings in the audience have relived their youth tonight.

Their performance is also emotional at times especially with ‘Legacy’ and ‘Safe In A Room.’

Words by Chloe Rose Eaton

Photo by Isha Shah

Live

s o t o h p in

petrol girls black heart, London 13/2/16

Photos by Ant Adams

Live

beach slang + petal the joiners, southampton - 29.1.16 9/10 52

petal

“We’re Beach Slang, and we’re here to punch you in the heart.” It’s a bold statement that vocalist James Alex makes, but one that rings true throughout the entire set. A bunch of punks from Philadelphia, Beach Slang pack out the cramped space in The Joiners with ease, bodies scrambling to the front to try and make their voices heard amongst the rambunctious riffs in what can only be described as a beautiful chaos. Kicking off with ‘Filthy Luck’, this song provides tonight’s first bout of irony as a chorus of kids scream, “Turn the amps up to nine/I don’t want it too loud”. It’s a sweaty, drunken mess that is crafted to be anything but quiet and it’s in this setting that Beach Slang can be appreciated at their best. Tearing through their setlist, there’s an air of

endearing clumsiness as the band fiddles with their guitars between songs whilst making a few light-hearted jokes here and there, guzzling down bottles of beer as if liquid confidence is even needed. It’s hard to imagine that the band have been splashed across pages in Rolling Stone, The Independent and even People Magazine but it’s their honest, carefree nature that makes them so special to watch– forget any gimmicks, it’s all about the music. The crowd feverishly laps up the atmosphere; people are clambering onto the stage to try and dive off, whilst others are forming a human pyramid in worship of the four sweaty men that are grinning from ear to ear. Guitarist, Ruben Gallego, even yanks someone on stage to battle it out in a thumb war whilst Alex catches his breath and it’s all so inelegant, but punk was never meant to be smooth sailing anyway.

As the night draws to a close, fans are treated to a cover of ‘Bastards of Young’ by The Replacements, along with Beach Slang’s own ‘Punk or Lust’ and ‘Ride the Wild Haze’; however it’s the earlier ‘American Girls and French Kisses’ that was without a doubt the standout track, if only for the sweet irony that the lyrics held. For on a cold, Friday night in the dingy ‘basement’ of The Joiners, drunken voices sang, “It’s Friday and I’m in the basement/ singing out my lungs with my best friends.” And that line alone, sums up the punch-in-the-gut feeling that Beach Slang offer – it’s really fucking beautiful. Words by Harriet Stanley

Photos by Isha Shah

Live

s o t o h p in

Photos by Isha Shah

+ pe

underworld, camd

etrol girls

den - 10.1.16

h20

Live

s o t o h p in

in depths with whales

scared of everything

the divorcee

reviews are fucking dead

house show in depths with whales + scared of everything + the divorcee black heart, London 13/2/16

Photos by Elliot McRae

Live

citizen + turnover the dome, london - 30.1.16 8/10 Citizen and Turnover are a perfect combination; Citizen even said so themselves. Having both bands play in one night is what some people might call a perfect line up. Tonight is extra special as it’s the last date of their European run and both bands aren’t expecting to return any time soon. Accompanying the bands on the UK leg of the tour are Fade, a four piece from Birmingham and Leeds. Although younger in terms of age and experience than Citizen and Turnover, Fade give the night a strong start with their heavier, hardcore sound. Power chords, distortion effects and head-banging beats are in abundance, though perhaps a little overwhelming as the vocals are lost within the mix. It’s a shame that the venue’s sound lets them down because they’re obviously talented, but the whole package wasn’t quite there. After a short sold out headline tour of their own, Turnover return with open arms. Throughout both tours Turnover have been premiering new songs which are set to be released as a 7”. Although they don’t have titles yet, the two tracks are distinctively different. The first is a slow bluesy love song that carries on their hazy, dreamy sound, whilst the second takes a slight departure from this with a fast beat and slightly more aggressive vocals and guitar. Their set is filled with their distinctive dreamy sound, encapsulating that chilled vibe wherever they go. From opener ‘New Scream’ to the final, and easily their best song of the night, ‘Cutting My Fingers Off”, Turnover once again show that they can effortlessly mesmerise an entire venue into a dreamlike state. No matter how rainy and cold it is outside, as soon as they play it’s like you’re

back in the middle of summer again. Contrasting to the gentle waves of bliss from Turnover, Citizen waste no time getting into their set. As soon as the first notes of ‘The Summer’ are played there’s a tsunami of fans on the stage, leaping into the crowd as if it were a soft bed. Singer Matt Kerekes gives a shocked laugh; he knows it’s going to be a good one. The sheer amount of crowd interaction is incredible. Hit songs from Citizen’s second album Youth are met with a tornado of flailing limbs and stage dives. The band keep up with the pace of the audience with their pounding intensity and Kerekes’ driving vocals. Songs from their latest album Everybody Is Going To Heaven are dark and menacing, the bassline really giving the set a grunge weight to it. During ‘Yellow Love’ there’s a spellbindingly beautiful moment. No one is on stage; everyone is focused on the band and the raw emotion with which Kerekes serenades the room. It’s a slight respite to the onslaught of adrenaline because after that it’s right back at it again during ‘My Favourite Colour’. There are many moments throughout the set where Kerekes doesn’t even bother to sing, the crowd overpower him. During ‘The Night I Drove Alone’ he just stands back as fans swirl around him onstage as they scream the lyrics at him. You can laugh at the fans, but what’s really important is the music. Bands like Citizen and Turnover have a way of connecting to people and it’s that which makes nights like this so special. Words by Emily Gunn

Photos by Isha Shah

Live

s o t o h p in

make my day:

holy pinto + fairview + scared of everything + cold holding + in depth with whales + the sour taste The Alex, southampton - 7.2.16

fairview

scared of everything

holy pinto cold holding

in depths with whales

Photo by Isha Shah

Live

s o t o h p in

Dilly dally lexington, London 28/1/16

Photos by Ant Adams