December 2015 #7 by New Roots Magazine

new roots issue 7 december 2015

elegies we take a look at the best of 2015 plus festivile, so punk fest ii, comebacks, music communities, and our biggest uprooted feature to date Photo by Isha Shah

foals stray from the path zebrahead drug church boston manor

Photo by Isha Shah

A Note from the team Can you believe we’re already seven issues into New Roots? We can’t believe how quickly the time has passed. We’ve got lots of exciting things planned for the New Year, but we’ll keep them a secret just a little while longer. For now, we look back at our favourite releases of 2015, as well as finding out what you had to say in our readers’ poll. You can also find out which albums our editors have been listening to this year. As well as reminiscing, we’ve got the incredible Elegies on the cover, and you can find a huge interview with them inside. We’ve also given our Uprooted section a makeover, so that it is now one big feature, which has grown yet again. There’s a really great mix of artists this month, so make sure you check out each of them, as there’s something for everyone. There are some interesting opinion pieces in this issue on bands making comebacks, and online communities, and as always, we’d love you to get involved and share your opinions with us. Our team has been incredibly busy this month, and as a result, a huge 40 pages of reviews! Yes, you did read that right! And speaking of our team, as always, we’re looking for more people to join us, whether you’re a writer or photographer, or are interested in design or radio. We grow with every issue, giving us more opportunities, and we would love for as many people as possible to be on board with us. You can contact us via any of the ways in the purple box, whether it’s a question, feedback, or you simply have something to say, From everyone at New Roots, we hope you enjoy this issue.

Editors: Rosalyn Boder, Chloe Rose Eaton, Adrianne Goron, Isha Shah, Harriet Stanley Design Editor: Adrianne Goron Assistant Designer: Isha Shah Sub-Editors: Chloe Rose Eaton, Harriet Stanley, Ash Valentine-Wells, Natalie Webb Contributors: Ashwin Bhandari, Rosalyn Boder, Arriana Corr, Chloe Rose Eaton, Lewis Edwards, Soroush Fereydoni, Adrianne Goron, Emily Gunn, Charlie Hill, Jack Hounsell, Thomas Paddock, Isha Shah, Harriet Stanley, Jack Webb, Natalie Webb, Billy Young Photographers: Jonathan Bell, Chiara Ceccaioni, Matt Goff, Sam Haines, Elliot Mcrae, Isha Shah 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.

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Contents news

news - the ghost inside

uprooted

call that a comeback?

so punk fest ii

itâ&#x20AC;&#x2122;s more than just a group

highlights of 2015

editors picks - albums of the year

albums of the year

eps of the year

singles of the year

2015 readers poll

interview - elegies

album reviews

live reviews

gig guide

news Hardout and guidance last shows at uk edge day

As Edge Day marks a crucial celebration within the hardcore community, two bands have marked their final appearance at the show happening in the DIY space London. After two years, the Brighton five-piece Hardout have decided to make it their last ever

show along with Guidance also calling it quits. “Unfortunately this will be Hardout’s last show. Played in honour of our friend Elliott Ingham, who has given his life to defend pop punk. It’s been fun, silly walk hard, even to iron love (it’s the last time you/we have to hear it).” – Hardout

“UK Edge Day will be our final show, thanks to everyone who helped us out while we were a band. Make sure to check out all the bands playing, UK straight edge burns bright. XXX.” Guidance Words by Isha Shah

survival call it a day

On November 8th, Manchester hardcore guys Survival announced their break up. “We’ve had a good run and now it’s time to call it a day. Our last show will be in early 2016, venue

Photo by Isha Shah

and date TBC. Any shows that we have already booked, we will still be playing.” We pay tribute to other bands that have also

called it a day on the next page. Words by Isha Shah

the king blues announce return

We pay tribute to some of the greatest losses in 2015... 2015 has been a great year for music, but everything must come to an end, and with that we pay respect to a bunch of bands that broke up within these last 12 months. Richa 2013 Hereford’s alternative quartet. Mindset 2008 Free state hardcore from Balitmore

The King Blues have announced their surprising return, having supposedly called it a day back in 2012, much to the upset of fans. And there’s no better way to make a comeback than revealing that the Hackney three-piece will be supporting Enter Shikari on their huge UK tour in February alongside The Wonder Years. You can catch this great tour at the following dates:

FEBRUARY 18 - GLASGOW Academy 19 - EDINBURGH Corn Exchange 20 - NOTTINGHAM Arena 22 - BOURNEMOUTH International Centre 23 - CARDIFF Arena 25 - MANCHESTER Victoria Warehouse 27 - LONDON Alexandra Palace Words by Adrianne Goron

brand new release ‘the devil and god are raging inside me’ demo tapes

Survival 2011 Manchester hardcore Big Nothing (Scouts) 2015 Liverpool rockers The Blackout 2003 Merthy Tydfil post-hardcore

We’re still not over this Welsh lot breaking up

Rotting Out 2007 San Pedro/Los Angeles, CA punk hardcore Foundation 2006 Atlanta hardcore Weak Knees 2014 Leeds rockers Bane 1995 Straight up Hardcore from Worcester, MA Breaking Point 2009 South Hardcore Yeah Detroit 2009 Melodic pop punk Scotsmen Shrapnel 2009 Hardcore Discourse 2011 Columbia, SC hardcore Guidance 2013 The London Straight Edge Hardout 2010 Brighton Hardcore Forsaken 2011 Hardcore

The rumours were true; Brand New have released their Lost Demos mixtape on cassette, just in time for those Christmas orders. The demos themselves (nicknamed Fight Off Your Demons) were infamously leaked back in 2006, ahead of The Devil And God Are Raging Inside Me’s release.

You can purchase the mixtapes via Brand New’s store, ‘Procrastinate! Music Traitors’. Words by Harriet Stanley

No Rest 2012 London hardcore Pariso 2009 The hell of London Save Your Breath 2007 Newport pop punkers Hindsights 2011 Burnham/ Maidenhead Alternative rockers #SadSinceForever

news

the rock world unites to support

the ghost inside

Photo: Facebook - The Ghost Inside

The rock community has united to support The Ghost Inside following the horrific bus crash that occurred in Texas last month. The band’s vehicle hit an 18-wheel truck, killing both of the drivers and seriously injuring each of the band’s five members. The band’s publicist released the following statement outlining the initial situation: “Thanks to everyone who reached out with concern today. The Ghost Inside was involved in a serious bus accident outside El Paso, TX this morning. All 5 band members + all members of the crew are alive and currently being treated for their injuries. Please keep them in your thoughts as well as their bus driver and those in the other vehicle who did not make it. Unfortunately, all US shows on the Locals Only Tour are cancelled. Refunds available at point of purchase. We will update you more when we can.”

airlifted to the nearby University Medical Centre. Andrew Tkaczykt’s brother reported online that the drummer had suffered a head trauma, broken bones, and a shoulder injury, “He is currently in ICU and may require surgery. Please give us all your prayers, thoughts, whatever it is that you do, as we need it.” As news spread of the tragic accident, both fans and musicians alike have come together to support the band. A Go Fund Me page has been set up, which has managed to raise just short of $150,000 in 28 days. These donations include those from their fellow bands, with $10,000 from Bring Me The Horizon and £1,000 from Architects to name just two.

Although it was always clear that the situation was serious, the extent of the band members’ and their crew’s injuries soon were revealed to be worse than primarily anticipated.

As well as this, You Me At Six put on a special gig at Camden’s The Underworld with all profits going to support The Ghost Inside. They were supported by Deaf Havana and Your Demise, who came back together after their split last year for the one-off gig. Tickets for the event sold out in minutes, with so many people helping back the cause.

The 12 people affected in the incident were

Most recently, the band’s label, Epitah

released the following statement, expressing the incredible gesture that all profits from the band’s album would go straight to them: “Dear fans of The Ghost Inside, our hearts go out to our brothers, in The Ghost Inside, who had endured a horrific bus accident, with devastating injuries. In light of this tragedy, Epitah has decided to donate all profits, from the sale of all The Ghost Inside albums worldwide, directly to the band – indefinitely. So, if you want to support The Ghost Inside, in their time of need, you can now do so by buying their music. Epitah won’t make a profit while the band silently fight to rebuild their lives. We wish them a speedy recovery and return to health”. From everyone at New Roots, we wish everyone involved the best in their recovery. What happened was horrific, but if one good thing has come it’s the knowledge that we exist as part of an exceptional community of people willing to support one another in whatever way they can. Words by Adrianne Goron

o r Up c

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

featuri o n f o h t r o n s e il m 5

Photo by Isha Shah

d e t o o

we've

s n o z a m a e h t , w ie v air f , e e b e l b m u r G : g in ft e l e h t n o r e d n u h t h, c a e b a l io v , e r e h ow

e l b m u r G Bee

tracks to look out for:

Listen to Grumble Bee’s song ‘Francium’ now Spotify: (https://open.spotify.com/album/6qV0YOHcFaDnV32gqST4mS) iTunes: (https://itunes.apple.com/gb/album/francium-single/id1055244724).

2014 - Present

available to listen to online.

Jack Bennett : Vocals/Guitar

Aiming to “write the heaviest pop music ever”, Bennett tries to write “catchy/ singable” melodies embedded in an altrock environment which is sure to grab the attention of everybody who listens. Bennett’s influences vary from old favourites such as Pearl Jam and The Smiths, to the more familiar territory of Bring Me The Horizon and Brand New, whilst even the likes of Justin Timberlake and Craig David are cited. It’s an interesting mix, yet the knowledge and talent of Bennett mixes each of these different genres to perfection.

Nowadays, it’s hard enough for an alternative rock band to make their mark in the current scene, let alone a single man with his guitar… now let’s meet Jack Bennett, otherwise known as Grumble Bee. Having previously played in PaperPlane, Bennett continued to write songs once the band parted ways with no intention of stopping– thus, Grumble Bee was born early last year. It’s remarkable to think that since the beginning of this endeavour, Bennett has found himself with frequent airtime on Kerrang! Radio’s Fresh Blood show with Alex Baker, despite having only two singles

Bennett’s debut track ‘Francium’ will undoubtedly draw in listeners from a variety of backgrounds; his deep, husky vocals sit

comfortably amongst a thrashing of guitars and cymbals whilst the chorus is infectiously catchy, begging to be repeated over and over. Grumble Bee has recently supported Only Rivals, Dinosaur Pile Up and Like Torches. The reception has frankly been phenomenal for Bennett and there is certainly plenty planned for the future, as February 2016 will see the release of Grumble Bee’s heavily anticipated five-track debut EP, Disconnected. Planning on touring extensively, there’s no doubt that Grumble Bee will be coming to a town near you and you’d be daft as hell to not come along and experience it all for yourself. Words by Harriet Stanley

w e i v r i Fa tracks to look out for:

Moonlight Fade

Old Haunts

Snowstorm Paralysis

2013 Present Josh Hough : Vocals/Guitar Cameron Dickerson : Guitar Jake Matthews : Drums Floating around the atmosphere for two years, Fairview bring a soft dreamy chant to the UK’s ever-growing scene. Described as a “moody indie rock band”, the four young lads from Bristol have only released one EP but it holds potential strength for further releases. On the road with a few established bands such as Allusondrugs, Milk Teeth, Fizzy Blood, Headroom, Hindsights, Richa and Coloured In, Fairview have had their fair share of high profile shows.

Vocalist Josh Hough has warming breaths of refreshing utterances that linger in the air as the band’s heavily melodic sound dissolves it. Their songs may be lengthy, but their captivating sound captures you in a trace that shortens its presence. Moonlight is free to download off their Bandcamp. (http:// fairviewuk.bandcamp.com/album/moonlight) Highly influenced by bands such as Echo & The Bunnymen, The Cure and evidently The Smiths, Fairview take these classic bands while adding their own sound to create a modern aura. They focus on having a complimentary system, focusing on the guitars. If it’s pouring down with rain, being in the comfort of your own bed with only the flickering light of a candle would be the

perfect setting for their music to be absorbed in. When recording their first EP, the band was still searching for a solid sound. Influenced by their current settings, the band are now taking the next step in developing their music, as it still draws the textures of Moonlight in many ways. Already planning on recording a few more songs early in December at The Ranch Southampton, Fairview will have a new set of releases for 2016 as well as a UK tour. Words by Isha Shah

The

s n o z a m A 2014 - Present Matt Thomson : Vocals Chris Alderton : Guitar Elliot Briggs : Bass Joe Emmet : Drums Every now and again a small band comes to the surface, already in possession of all the talent, traits, and refinement necessary to make it as a giant in the music industry. The Amazons are one of these. The first time I heard one of their tracks, I had to stop and take note, there was something instantly incredible about this band; I couldn’t believe how early they are in their career. Describing their influences as Arcade Fire, Nirvana, Led Zeppelin, The Vaccines, and

Bombay Bicycle Club, Reading’s The Amazons began when Matt Thomson left his job at Waitrose and started making music with Chris Alderton, whom he met at school. The line-up was completed in 2014 with Elliot Briggs on bass, and Joe Emmet on drums. Thomson described in an interview with ‘The Metropolist’ how, “He was the eighth drummer we had but he was the best one. He just hit them the hardest and that was that”. Possibly the biggest moment in their career so far is supporting The Kooks on tour in Germany in February, and they have since gone on to headline their own UK tours, with a focus on the south. The four-piece have just released a four track EP Don’t You Wanna, via their own label ‘Goth

Cruise Records’ (which we gave a huge 9/10 in our November issue), featuring anthemic track ‘Junk Food Forever’, in which the band worked with producer Catherine Marks (Wolf Alice, White Lies). So far these are the only tracks available to stream or download, as the band told ‘Drunkenwerewolf’ that they’ve “never been a band to release anything without being 100% happy with it. We would feel a bit naked if we released a track without the follow up ready to go, too”. I only hope that now their EP is out in the world, a full length follows in the relatively near future. That being said, I don’t think I could get sick of Don’t You Wanna if I tried. Words by Adrianne Goron

tracks to look out for: Ultraviolet

Something In The Water

Junk Food Forever

A perfect opener to a near-perfect EP. Beautifully constructed and punchy, the powerful vocals and memorable guitars are laced with tones of The Vaccines.

The demo for this song was the first material released by the band, Thomsonâ&#x20AC;&#x2122;s line about Emmet being a powerful drummer is backed up by this striking track; an anthem in its purest form.

The instruments take the spotlight in this track, creating a rolling sound almost impossible to keep still to.

s e l i m 5 e r e h w o n f o h Nort N

2011- Present

Lifelines and Giants - the four-piece have done well for themselves over the past four years.

Elliott Jones : Vocals Dave Parker : Guitar/ backing Vocals Nick Jones : Guitar Nik Lloyd : Drums The South is the home of the current dominating scene in the UK with exceptional bands who are not settling for a mediocre release. Southamptonâ&#x20AC;&#x2122;s own Five Miles North of Nowhere seem to be making a bold statement for the punk rock scene. Unsigned and totally DIY, the four young lads have been releasing their own music, whilst managing to get themselves on some decent shows. Playing a few festivals such as So Punk Fest, Summer Fest and Messtival - as well as touring alongside Networks, Breath In The Silence, Palm Reader,

tracks to look out for: 14

Just released, Less Talk, More Action is the bandâ&#x20AC;&#x2122;s biggest release yet with a full seven tracks of regaining rock. Taking obvious influences from Every Time I Die, Cancer Bats and Letlive., the quartet also have an old school Sum 41 and Rolo Tomassi edge to them. A breath of fresh air, the quartet deliver dated music to our modern ears, with a lot of bands previously forgotten, Five Miles North of Nowhere rekindle that spark. While the media is flooded with pop punk and more generic sounding music, open your ears to the classic days of punk rock music, while still associating current bands. Words by Isha Shah

Reverse The Time Less Talk, More Action Heads Up!

tracks to look out for: cherry vimto Beautiful, slow, and mellow; ‘Cherry Vimto’ embodies everything that is great about chilled out indie music. Swings and waterslides Faster and more upbeat, this track is a mover with its notable lyrics and marching beat. ‘Swings And Waterslides’ is three and a half minutes of foot-tapping, summer-feeling perfection.

Viola Beach 2015 - Present Kris Leonard: Vocals/guitar River Reeves: Guitar Tomas Lowe: Bass Jack Dakin: Drums Despite the fairly limited music in their catalogue, Viola Beach are really starting to make a name for themselves. The four-piece from Warrington are managing to attract the attention of all the right people, and rightly so, with their deeply infectious and uplifting indie

pop vibes. This month alone they’ve already joined The Courteeners for three dates on their tour, as well as announcing that they are set to headline the BBC Introducing takeover of Club NME at Koko London, in January. Viola Beach aren’t trying to redefine a genre. What they are doing is creating contagiously happy indie songs for every mood. Their slow drums and distinctive guitars set the tone, combined with Kris Leonard’s refreshing, subtle vocals. Their songs are bright, relatable, and beautifully constructed. The

band manages to take something simple and perfect each and every element, rather than trying too hard and overdoing it; the resulting sound feels incredibly natural. Undoubtedly one to watch, Viola Beach seem to have boarded a rollercoaster that only goes upwards. Although they may be done for 2015, if you make plans to see one band in the new year, make sure it’s this one. Words by Adrianne Goron

n o r e Thund

t f e l The

2013- present Heavily engaged within the political scene, focusing on the disillusionment of the youth in our current Conservative government, Thunder On The Left call out all the pigs. This is reflected on their latest single ‘Sick’, which expresses their hatred for David Cameron, including scenes of him matching with pigs on Tinder in the music video. The London four-piece have been around for two years, playing shows with the likes of Press To Meco, Thieves by the Code, Nightlife, Deux Furieuses, Smoking Grace and Rumble Fish. Not to mention an acoustic set at Rough Trade on Halloween as well as headlining the Old Blue Last and The Garage in the capital earlier this year. Their rocky presence also invites fans of Tool, Queens of the Stone Age and Rage Against the Machine. Live, they are highly energetic displaying the passionate attitude found within their lyrics, which rant about the problems we are consumed by. “Society says... Fuck what society says”, powers frontwoman Carla Tully whose stern vocals that have enough authority to send Cameron on his way. Thunder On The Left’s tunes are solidly perfected whilst their musical elements fit to compliment each other. Thunder On The Left take all ethics of DIY into account when making music as they share similar values to their brothering bands. By holding their own DIY nights and encouraging bands to create more music, the trio are bringing together a rock community of like-minded people that London really needs. Currently, the band is focusing on getting new music down on paper, ready to record a debut album in 2016. You will be sure to find these guys at more shows and festivals next year. Words by Isha Shah

tracks to look out for: Pretty Little Victims Sick Discord

FEATURE

call tha There was a point in time when I didn’t think that I would ever see my favourite band live. In 2009, Blink 182 reformed and I got to see them headline Reading Festival the following year. But you’d be a fool not to admit that it’s been downhill for the trio since then. Around the same time, UK post-hardcore fourpiece Fightstar announced that they were going on hiatus. This completely passed me by but late last year Fightstar burst back onto the scene announcing a comeback show (swiftly followed, and I mean ten minutes after the first one had sold out, by a second) along with the promise of new material. Since the first show in December I’ve seen Fightstar twice more this year, so as

hypocritical as this may be, their “comeback” didn’t really bother me. Fightstar released their fourth album ‘Behind The Devil’s Back’ on 16th October. A mere 25 days later it was announced that Charlie Simpson was re-joining Busted. For real? What kind of marketing is this? Are we reversing time? The precise reason that Simpson left Busted was in order to pursue Fightstar, wasn’t it? Is this reverse psychology gone terribly wrong? This Busted reunion seems like a severe case of poor timing as opposed to a reformation that simply shouldn’t be happening. Whilst it’s completely understandable that a

lot of people haven’t seen Busted live, myself included, are we really that bothered? Especially after all of the McBusted lark last year. Surely if you wanted to see Busted songs live you have, by now, in some form. And new Busted music; is that something we really want or need to hear? Two of my three main issues with bands reforming are more than present here. Is the new music Busted are writing going to live up to anything they put out ten/twelve years ago? And are they just doing this for the money? My third issue is that I personally (that means on a personal level, me, myself and I feel this way) find reformations to be disrespectful to fans. Although it’s difficult to fault Alexisonfire in

at a comeback? terms of their music, the Canadian five-piece are a prime example of a “comeback” that should never have happened. In 2011 Alexisonfire announced that they were set to part ways and this was followed in late 2012 by a short series of globe-spanning farewell shows. And that was the end… although it wasn’t because an acoustic EP, boxsets and repackaged albums have been trickling through ever since. The announcement of Alexisonfire’s string of festival appearances over the summer of 2015 was the final nail in the coffin, concluding that the band has now just become a moneygrabbing machine. I feel such a mountain of disrespect from the band towards their fans.

Even more so considering that after a heap of confusion, Alexisonfire aren’t actually back with us as a band at all. It’s a case of never say never. If there is ever a chance, regardless of how slim that chance may be, of a band “reforming”, they should never entirely call it quits. Ending hiatuses and reforming with an original line-up is becoming a rite of passage rather than something that happens once in a blue moon for so many bands. You get big, you get bored, you split up, and you reform a couple of years down the line. We’re at a point where there’s no need to invest in a band “taking a break”, “calling it a day” or going on an “indefinite hiatus” because you can almost guarantee that they’ll be back

sooner or later. It’s almost as though, as fans, we need to hold an intervention but what can we do? It’s increasingly clear that fans need to do all that they can to support bands before they feel like their only option is to split up. Bands the size of Busted can do whatever they like and are guaranteed to have an audience stick by them no matter what. It’s the bands that won’t get the opportunity to rise again that we really need to look out for, and then maybe we can stop this whole reforming thing for good. Words by Natalie Webb

FEATURE

Above The Waves Promotions in collaboration with Failure By Design Records

SO PUNK 20

FEST II Photo by Isha Shah

Above The Waves Promotions and Failure By Design Records come together to put on the second So Punk Fest, this time at Southampton’s famous Joiners, boasting an incredibly strong line-up.

redwood

Redwood The fact that openers Pet Grief are yet to arrive at the venue leaves the potentially difficult job of kicking off the day to Redwood, a band who more than rise to the challenge. Beginning with an acoustic track, the band are choppy and charismatic, bright and colourful. Their melodic tones attract a surprising crowd for so early in the day, and they develop with every song. Redwood are a perfect, unintentional opener. 9/10 5 Miles North Of Nowhere From the relatively chilled to the highly energetic, 5 Miles North Of Nowhere are nothing but animated and enthusiastic. Failing to be contained by the venues small stage, the band’s guitarist must spend 95% of the set swinging his guitar around in the middle of the crowd. 7/10 Pet Grief Finally taking their place on the stage, Pet Grief appear a little unenthusiastic, potentially due to the stresses of being delayed, however it does damage the performance they give. They probably would have been alright had they made it in time to open, but Redwood’s excellence only gave the others a challenge in following them. 5.5/10

5 miles north of nowhere

Sad Blood The emo three piece prove they know how to put on a show, with George Phillips’ standout vocals a highlight of the day. 8/10 Homebound A slight curveball in the line-up, Homebound deliver a solid pop punk set. The band are energetic and refined, even if a little repetitive. As with the stereotype of the majority of pop punk bands, there is nothing new or striking about Homebound, but that doesn’t mean that they don’t execute what they do well. 7.5/10 Losing Sleep Despite playing to an undeservedly reduced crowd, Losing Sleep do not falter. Strong vocals and a consistent performance see the Kingston band deliver something any band would be proud of. The only thing missing it that special something to really make them stand out amongst the line-up. 7/10 Weatherstate The crowd returns for Weatherstate, who demonstrate exactly how best to deliver solid pop punk. The band played a collection of songs, from their EP and upcoming album, which is set to be released in January. Vocalist Harry Hoskins is polished and conveys each line with ease, as his band mates support with a concrete presentation of their musicianship. 8.5/10 Wallflower London’s alternative five piece, Wallflower take things up a notch further, giving the best performance of the day so far. Each track is executed to near perfection, their memorable lyrics and well-constructed hooks, matched with the band’s pure energy leaves nothing to be desired. 9/10 Overall So Punk Fest II was the culmination of hard work, and demonstrated the huge extent of talent in the current scene. The mix of bands that played complimented one another, and it’s only a shame that more people weren’t there at points to see the performances for the greatness that they were. Words by Adrianne Goron

pet grief

wallflower

homebound

yearbook

sad blood

Photo by Isha Shah

FEATURE

it’s more than just a group

are facebook groups for Joining the ‘Defend Pop Punk’ group on Facebook doesn’t exactly make you a hero, despite whatever it is you’re meant to be defending, but being part of that group does involve you in ‘everything’ they post. Facebook groups are becoming a far too popular trend with a new invitation to ‘UK Beyonce’ or ‘Cool Dog Pictures’ every day. There is now so much scope on these groups that anything is humanly possible, and yes I am talking about the ‘UKainsley Harriott’, (yes, it exists). Starting off as something completely harmless, as an attempt to talk to like-minded people, groups have taken a backwards turn

into trolling the fuck out of someone who confuses Real Friends with Knuckle Puck. It goes without saying that it’s the Internet, and if you’re going to post something anywhere online you will get immature people just browsing the web to take a dig at anyone for no reason at all. The ‘FVK;;’ (Fearless Vampire Killers) group is a prime example of how 4,720 people made the band as big as they are, with so much love and support shown with daily dedication posts. A number of these groups exist around several bands, all-waiting for you to click join, to supporting your heroes.

With messages from the band themselves, admitting how much they appreciate and love their fans, being a part of a group takes you one step closer to interacting with your idols without spending £70 on a meet and greet. What’s so special about some is that the people in it actually care. The FVK group has countless fan art, posts about receiving new records, merch and autographs, posts about making new friends and socialising with the very same people who love a band as much as you do. Here is a safe haven, a place for anyone no matter what age to feel accepted and loved, from the comfort of their very own

r a community or just to troll people? home by people they may never meet. No matter if you’re a fan of the band or not, you have to really admire the time and dedication these people have towards a selected group of people and respect it.

These days it’s just print screens of something someone tweeted with the caption “Discuss”, while the person behind the screen sits back and waits for the “SMASH DAT MF LIKE BUTTON” and for people to troll their work..

So why is it when you post in a few others that you get a totally different response? Different fan bases attract different sorts of people, and the reality is most people you ‘meet’ online are not very nice.

It goes without saying that you will find these people anywhere, not just Facebook groups, you just have to know which ones to join.

Trying to sell some merch on a trading group, yet getting nothing but unrelated comments about how ‘dank’ these memes are, or how someone else has the first pressing.

‘UK Emo/Grunge’ is a strong group that promotes starting bands and finding new music. Many nights, I have spent scrolling through its feed, and not once have I come across anything less than good. Mates constantly supporting mates, showing off

their latest release, or asking people to join a band, planning tours, or even just expressing how great Turnover’s new record is. There are still a few, a very few out there who do their job in bettering the scene, while creating awareness for newbies to join. From the interviews we have carried out, we have asked these bands their views on each group and how they feel about them, Homebound put it bluntly, “It’s very easy to be put down with what people say on the internet, but at the end of the day, it’s just one person.” Words by Isha Shah

Photo by Isha Shah

FEATURE

u m r o f r a e y e l ib d it's been an incre p u d n u o r o t d e id c e so we've d

our highlig

Photo by Isha Shah

usic

f o ghts

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top albums

s k c i p s r o it ed ROSALYN Young Kato Don’t Wait ‘Til Tomorrow When I first saw Young Kato on Made in Chelsea’s season five I was completely drawn to them. When this album came out in May, I physically couldn’t stop listening to it, it was the soundtrack to my summer. I am still listening to it (even right now). Young Kato’s Don’t Wait ‘Til Tomorrow is like a really addictive book you just can’t put down. It’s sun drenched melodies and catchy hooks make for excellent, memorable tracks. It’s an emotional but uplifting album, full of adrenaline all about being young and carefree. Not only is it great musically, but totally relatable. Jamie XX In Colour It’s no surprise that this album landed number three in the UK charts. In Colour transports you into a nostalgic bassy journey of London clubbing. Madeon Adventure Madeon’s debut LP is a vibrant and uplifting EDM record packed with collaborations such as Passion Pit and Bastille. Chvrches Every Open Eye The Glaswegian trio’s second album is as good as their first. This album has brought some amazing tracks such as ‘Empty Threat’ and Depeche Mode inspired ‘Clearest Blue’. The Mindsweep Enter Shikari This album is packed with issues on climate change, financial crisis and racism. Ranging from crazy songs such as ‘You’ve Got A Price On Your Head’ to poignant number ‘Dear Future Historians’, Shikari once again prove their outstanding variation.

Isha

Turnover Peripheral Vision What’s not to love about this record? Since the day it came out, I have literally had it on repeat, non-stop. Perfect for every occasion, those long summer bus drives, or chilled nights in with your mates, Turnover have developed their sound into even more dream like whispers. Turnstile Nonstop Feeling As their first full length, Turnstile have stepped up their rage game with a full record packed full of fist pumping, stage diving songs that you know will go off live. the world is a beautiful place ans i am no longer afraid to die Harmlessness If released a few decades earlier, every song would feature in the sound track of The O.C. A truly magical and breathtakingly beautifully record, that’s filled with all enchanted illusions. Stick To Your Guns Disobedient Ranting yet again about the world’s corruption, the O.C boys are nailing it once again with a record that screams its title. Foxing Dealer As if the first record wasn’t perfect enough Dealer just tops everything with whispers of heaven.

Adrianne

The Weeknd Beauty Behind The Madness Every single track on Abel Tesfaye’s beautifully constructed album is faultless. From opener ‘Real Love’ through to ‘Tell Your Friends’ and ‘Often’, the record begins with a punch and refuses to let up. The 14 tracks include recent chart hits ‘The Hills’ and ‘Can’t Feel My Face’ as well as duets with music giants Ed Sheeran and Lana Del Rey. Beauty Behind The Madness is the result of a master class in creating an album, and The Weeknd’s phenomenal vocal talent is plastered across every moment of it.

Chloe

Fightstar Behind The Devil’s Back Even though every single Fightstar album has been amazing, Behind The Devil’s Back is without a doubt their best release yet. It includes heavier riffs, beautiful melodies and both Charlie Simpson’s and Alex Westaway’s unique vocals. The loud/soft dynamic that the band are well known for is even more evident on this album, and the soaring vocals are a highlight throughout.

Slaves Are You Satisfied A modern reincarnation of 1970’s punk rock, Are You Satisfied is raw, refreshing, and full to the brim with attitude. The duo’s reverberant personality clings to every track without exception, creating something vibrant, honest, and unbelievably catchy.

Press To Meco Good Intent Catchy pop hooks, metal riffs, and upbeat melodies with elements of progressive rock – this album has it all. Completely different to anything out there right now, this innovative album has boy band style vocals juxtaposed with metal riffs. Literally, what more could you want?

Frank Carter And The Rattlesnakes Blossom Raw, heavy, and personal, Blossom sees Frank Carter embody all that made his time in Gallows so great. Opening track ‘Juggernaut’ is fierce and raspy, with outstanding guitars and vocals. This is not just an angry album however, as Carter is also melodic and deeply emotional, managing to perfectly nail the right combination of the two.

Bring Me The Horizon That’s The Spirit Although worlds away from their very first releases, That’s The Spirit is a truly great album. Yes, it may not be as good as Sempiternal, but how were they going to top that, really? Bring Me The Horizon have come a long way from their original deathcore days, managing to incorporate synths and pop elements to produce a more pop-rock sounding album that has paid off for them.

Don Broco Automatic Everything Don Broco does seems to be incredible; from their first album, to their live performances, and Automatic is no exception. Vibrant and catchy, the album is filled with charisma and the band’s instantly recognisable and infectious personality.

Young Guns Ones and Zeros Young Guns are another band that have opted for a more pop sound these days, and the change has really paid off. They have also added synth elements to their sound which has really worked in their favour on this album. Of course, Gustav Wood’s powerful vocals are a highlight throughout the entire album.

Wolf Alice My Love Is Cool The album that saw Wolf Alice break into the mainstream, My Love Is Cool encompasses each and every element of the band’s talents. From the calm and beautiful ‘Bros’, to the raw and angry ‘You’re A Germ’, the album is a real mix of sounds, each adding something unique.

Don Broco Automatic Don Broco are one of those bands that are consistently great. Every song they release is excellent and they are one of those bands that never seem to release a ‘weak’ song. It’s the same for this album; from start to finish every track is great.

harriet

Justin Bieber Purpose This definitely isn’t a joke. 2015 is the year that nearly every single person out there turned into a Belieber¬– just because you won’t admit it, doesn’t mean that it’s not true. Thank God he’s strayed far away from the likes of ‘Baby’, instead throwing out banger after banger with ‘Sorry’ being a personal favourite. He might be a knob, but he can definitely sing. Lydia Run Wild Run Wild sends a shiver down the spine and a chill right to the bone. Offering the perfect blend of echoing synthesisers against Leighton Antelman’s ethereal vocals, it’s an indie-rock masterpiece that’s hauntingly beautiful. The Technicolors Ultraviolet Disguise Listening to this album is like meeting someone new, yet feeling as if you’ve known them your whole life. There’s something so familiar surrounding this record due to its heavy influences from across the eras, yet The Technicolors have modernised these classic styles to offer up something fresh and exciting. Beach Slang The Things We Do To Find People Who Feel Like Us There probably hasn’t been a more honest record than this one. Beach Slang will have you reminiscing the good times with friends where you sang along to your favourite songs whilst feeling the most alive. It’s raw, it’s passionate and the punk will punch you right in the heart in the best kind of way. The Maine American Candy Satisfying your sweet tooth comes easy with American Candy. It’s sickly poprock goodness; upbeat and bursting with energy, each track offers something unique and exciting to keep you hooked. And anyway, it’s worth a listen purely to hear John O’Callaghan sing about how he refuses to cut his hair. Legit.

Photo by Isha Shah

top albums nai harvest

beach slang

hairball

the things we do to find people who feel like us

Nai Harvest are one of those bands that just absolutely nail both the look and sound of their work, and Hairball is no exception to this. Released in April of 2015, the first fulllength album from the Sheffield indie-punks is a refined and polished continuation of their already unique sound, which combines reverby distorted guitars and drums into a pop-rock amalgamation that never stops giving off good vibes. Despite the cleanness of the recording, the band don’t lose their gritty, garage recording sound that really make them stand out. ‘Buttercups’ as a track showcases everything that is great about the band and honestly is like summer in a song. ‘Ocean Of Madness’ shows a maturity to the band, and is slower paced, but equally as brilliant. One of the standout releases from a British band in 2015. Words by Jack Hounsell

There is nothing more heart-warming than listening to a record that feels like it’s dedicated to you. Forget the rest of the world, James Alex is singing to you and that is fucking special. You’re a fan, you’re a friend and you’re not alone– it’s the key message that is relayed throughout such a personal album, reminding us all that music is what brings us together (with maybe a beer or two to help). Whilst lathered in hushed riffs and smashing cymbals to contrast on the record, it’s Alex’s voice that really shine with its distinctive rough edges and a husky tone. There aren’t any gimmicks– what you

see is what you get, and what you get is a raw punk record that’s pouring out poetry. ‘Young & Alive’ and ‘Too Late To Die Young’ are the two stand-out tracks, following the same theme of forever being that weirdo kid at heart despite growing older (and there’s nothing wrong with being weird). As a debut record, Beach Slang have nailed it and 2016 is going to be the year in which they take over. Words by Harriet Stanley

purity ring another eternity Ever since the silk smooth enchantment wrapped itself around me, I have been ensnared in the sugary grasp of Another Eternity’s ancient charm poetry lyrics and silver polished electronic production slightly off-kilter dance beats. This was not an easy choice, however. 2015 has been a phenomenal year for music with masterpiece, innovative and addictive releases from the eloquent established voices of cherished groups reaching admirable and confident peaks, such as Lydia’s (Run Wild), The Maine’s (American

Candy), Knuckle Puck’s (Copacetic) and The Story So Far’s brilliant self titled (all also equally deserving of the title of album of the year) - and an enticing, dazzling array of new talent emerging with boundary pushing sounds, reinventing and redefining alternative, punk and hardcore and everything in between; making 2015 one of the best years for music in a long time - it’s very exciting. Words by Arriana Corr

turnover

citizen

peripheral vision

everybody is going to heaven

While Turnover may have started out as an angsty pop punk/melodic hardcore crossover band like so many of their contemporaries in the scene such as Title Fight, Balance & Composure, Daylight (aka Superheaven), Peripheral Vision proves that the band is capable of so much more than that. Every track glistens with dream pop influences that contrast nicely over the melancholy lyrical material throught this record, especially with the opener ‘Cutting My Fingers Off’ which crescendos off nicely to a very uplifting and heavily emotional end. There’s a very distinct feeling of disconnect mixed in with an almost ethereal bliss due to the very poppy guitar effects and sonic clarity in Austin Getz’s vocals, while pretty much singing about looking back on past relationships and how even as an adult, there’s a tendency to try and mask those

feelings with warm nostalgia from your youth. Even the re-recorded version of ‘I Would Hate You If I Could’ has a very warm yet bitter and sombre tone towards it, as the gang vocals in the chorus are replaced with more guitar layers that build up an almost false sense of euphoria. At first the repeated use of chords and repetitive song structure may be off-putting, but the seamless nature of the tracks makes it feel more like a concept than something you would necessarily pick up and fall in love with instantly. Overall, Peripheral Vision’s instrumental indie rock sensibilities expands greatly on Turnover’s sound as a whole, and manages to perfectly capture the feelings of emotional vapidness, while still being catchiest records of 2015.

When Citizen released Everybody Is Going To Heaven, I felt it didn’t get as much praise as it should have had. Of course there were those hardcore fans moaning that they’ve changed their sound too much but I think it’s definitely a step in the right direction because who likes a band that spews out the same sounding shit every album? To be honest, I’m a sucker for anything dark and broody so this album is perfect for me. So although their sound has changed to a grungier undertone, I think it suits the band perfectly. The change in their tone makes the album really stick out from the saturated genre and that’s what makes this album great. Words by Emily Gunn

Words by Ashwin Bhandari

Photo by Isha Shah

top eps gnarwolves

wars

adolescence

and the sea will claim us all

Gnarwolves have such an instantly recongnisable and energetic, fun sound, and have been putting out record after record since 2012. After releasing their incredible first full-length album in 2014, Adolescence sees the band evolve their sound, while still keeping that classic Gnarwolves touch. Opening with ‘The Waiting Line’, it’s a blistering display of punk that we’re used to seeing from the trio. The combination of the acoustic ‘Blondie’ which feeds into ‘Bad Dreams’ showcases vocalist Thom Week’s voice, which can sometimes be lost in the ferocity

of the rest of the band in their more traditional songs. While the entire EP feels different to the album, it’s encouraging to see that merely a year after releasing their self-titled album, Gnarwolves can reinvent and create a great sound that still holds their hallmarks. And as usual, it’s all 100x more insane live, and they’re on tour right now so go catch them! Words by Jack Hounsell

the amazons don't you wanna Opener ‘Ultraviolet’ is a beautifully constructed, punchy track. With tones of The Vaccines, Matt Thomson’s subtle, yet powerful vocals build easily into something just shy of flawless. Slower ‘Junk Food Forever’ rivals the kind of track released by artists years ahead in their careers. This level of proficiency continues throughout ‘Millions (The Party)’ and concluding track ‘Something In The Water’, with its pacing drums and striking guitars.

It seems incredible that the four piece have managed to pack so much into just these four tracks, forever surprising in terms of the sheer level of professionalism in what they produce. Fast forward a few years, and we are potentially looking at the next big indie icon. Words by Adrianne Goron

Upon this ever-shifting horizon tagged ‘posthardcore’, Wars crash a skilled tsunami wave of sound, diffusing softly on the shore. The extent to which pure rage, anguish, frustration and inner torment can twist and contort within the human mind and run rivers deep under our society, is unleashed in this fearless debut. Wars elegantly proclaim the personal and subtly attack the political with a sharp but humble tongue. For a young group, this release encompasses a wondrous range of delicate beauty and ferocious catharsis. Nothing within this EP can be omitted and there is nothing that should be altered or added. And so And The Sea Will Claim Us All sees Wars navigate us confidently across 2015, sailing the future of post-hardcore into an ever-bright distance. Words by Arriana Corr

devereux

beach weather

more time than we knew

what a drag

Despite it only being three tracks long, More Time Than We Knew is a diverse EP. There is the fast-paced, heavy drums, combined with intricate riffs and smooth vocals. Although there are heavy aspects to the album, a lot of the album almost has a melodic, peaceful feel to it. It’s reminiscent of Incubus and Three Doors Down, yet still sounding completely original. Devereux manage to produce an album that incorporates elements of emo, grunge and alternative rock, that still has a modern and refreshing feel to it. Words by Chloe Rose Eaton

Without a doubt, the band’s name is incredibly fitting for this summery number. What A Drag is a feel-good EP that’s the perfect soundtrack to a road trip: have your windows down, music blaring and the loud singing of your closest pals as you travel to nowhere in particular. Vocalist Nick Santino - better known for offering his talent to former pop-rock group A Rocket To The Moon - has a smooth, sultry tone that layers perfectly over the synths in each track, creating the echoed vibe that replicates old school Tom Petty.

Ultimately, What A Drag is an EP to make you fall in love– ‘Swoon’ is a capturing track, laced with sexual undertones whilst both ‘Wolf’ and ‘Rebel Sun’ remain heavily romantic, replicating the cliché of a summer love without being coated in sap. Honestly, what more could you want from an indie-pop record? Even the coldest of hearts could be warmed by these five tracks, and that’s saying something. Words by Harriet Stanley

itoldyouiwouldeatyou Don't cheer up Sitting somewhere comfortably between the noodly riffs of early math rock groups like This Town Needs Guns and the anthemic urgencies of Taking Back Sunday, ITYIWEY come out sounding tighter and bigger than ever before. Drummer Sean Westall and guitarist Lewis Friend instrumentally go hand in hand with each other, adding complex fills and ornamentation into the mix, while also contributing beautiful three part

harmonies with vocalist Joey Ashworth. The remastered version of ‘Learning From American Mistakes’ as a full band contribution sounds even better than before, and while every track sounds substantially different from the last, there’s a unique, passionate temperament that unites them all throughout this EP. Words by Ashwin Bhandari

Photo by Isha Shah

top singles black peaks

brand new

saviour

mene There’s nothing better than when your favourite band resurfaces after a leave of absence. However, with the case of Brand New you’re not sure what you’re going to get. When rumours surfaced about the band being in the studio, every recovering emo kid in the world was internally screaming at the thought of new music from one of the pioneering bands of emo

music. When they finally released ‘Mene’ it was everything we wanted in a Brand New record. From the first beat there are thrashing guitars, drum rolls and a chorus to which your inner emo can scream to: “this is my own fault, we don’t feel anything”. Words by Emily Gunn

the 1975 Black Peaks have quickly become popular, having gained the interest of the likes of Zane Lowe and Daniel P Carter, it’s not hard to see why. ‘Saviour’ is a sludgey, progressive rock masterpiece, that still has all the elements of metal and mathcore, that are familiar with this band. Black Peaks have perfected the loud/soft dynamic in a way that hasn’t been done since Deftones. Will Garner’s soothing vocals sound superb contrasted with the heavy riffs. His aggressive vocals are just as powerful and robust as his softer singing. This track and their upcoming album are sure to make them one of the hottest new bands around, and are definitely a group to look out for in 2016. Words by Chloe Rose Eaton

love me

The 1975 have, it seems, decided to do away with any semblance of normality in what they do as a band. Not that they’d want you to call them a band these days, probably. Earlier this year, their online presence seemed to dissolve, with fans losing their collective minds for a few days. Eventually, Matt Healy and crew jumped back into the spotlight, with a new, rather pink aesthetic. What followed was their newest single ‘Love Me’, which would feature on their as yet to be released album, I Like It When You Sleep, For You

Are So Beautiful Yet So Unaware Of It. It’s instantly obvious that it’s not just a change of visuals the band have gone for; ‘Love Me’ is a throwback to the 80s era of British pop music and while it has no right to work in the modern era, somehow they have got it spot on. The heavily effect driven guitars, Healy’s iconic voice, and some outstanding production work, The 1975’s new album will be one to keep an eye on. Words by Jack Hounsell

the maine english girls Having disappeared into the abyss for a few months to work on their fifth fulllength American Candy, it came as a shock when The Maine emerged from their social media blackout with ‘English Girls’. Not to their usual style of singing about love and heartbreak, instead John O’Callaghan reminisces the anecdote of a tour memory– a friend hitting on an English girl and succeeding in the best of ways. Light-hearted and humorous, the track itself is in stark contrast to the previous album, Forever Halloween,

which consisted of a darker, sombre tone throughout. It was the perfect choice of song to bounce back with, and it’d be hard to argue against what is possibly one of the greatest choruses of all time: “English girls, they just like sex/I couldn’t believe when he said, “I’ve got news for you, American boys do too.” Classic. Words by Harriet Stanley

the story so far heavy gloom Not a single day has gone by in which I have been able to live without craving the pounding aggressive pop punk snarl that marched its way into my heart the very second it began pouring into my ears. The Story So Far have been arguably crowned superior pop punk creators for a long time, but this single and the following self-titled release that sits with it, truly made this position defiantly deserving for the group. With words that with each spit and shout feel as relieving and moving as

the hills

the last, ‘Heavy Gloom’ has on countless occasions, lifted me out of washed out greyness apathetic monotony and given me something fierce, alive and beating in my chest to hold onto. Every time the signature bass and drum beat begins, my heart cannot help but race along with it. ‘Heavy Gloom’ has endured, proving its strength alone as a pop punk classic, glorious and undeniably irresistible. Words by Arriana Corr

bring me the horizon doomed The opening track on Bring Me The Horizon’s newest album That’s The Spirit is also the stand out single on the release. It’s slow, synthy beginning builds with Oli Sykes’ unusually soft vocals through the first verse, before erupting into the powerful chorus. Although the chorus restores the slightly heavier sound Bring Me fans are more used to, the smooth vocals as Sykes sings “I think we’re doomed” is a beautiful addition to the track. Jordan Fish’s addition

the weeknd

to the band is a main presence here; on the second album he has been a part of, showcasing his own phenomenal talents. My personal favourite part of the song is the section starting “So leave the light on / I’m coming home”, where the added pace adds to the power of the track, leaving it nothing short of an anthem. Words by Adrianne Goron

While ‘Can’t Feel My Face’ might be a more popular choice for single of the year, ‘The Hills’ is a guilty, narcissistic pleasure that delves into the hardships of being a celebrity while trying to maintain a secret relationship outside of the spotlight. Here we see Abel admitting his weaknesses and drug use revealing his ‘true’ self, while also revealing that the girl he’s having the affair with is just as guilty, and in the age of paparazzi’s and media scandals, no stone goes unturned. Just as he explains that he wants to get his woman out of the friend zone, Abel is developing into far more mainstream popularity with his music and fans than ever before, however the subject matter is still pretty dark for ‘radio friendly’ material, and the sleazy bass drops in the song makes this one of the more underrated singles of the year. Words by Ashwin Bhandari

Photo by Isha Shah

readers poll en o u g h a b o u t your 's e r e h , t h g u o h t e w t a h w ... views on the year in rock

band of 2015

song of the year

muskets

water canvas - birthdays

water canvas

hindsights - out of my skull

turnstile

turnover - dizzy on the comedown

the wonder years

turnover - diazepam

basement

justin bieber - what do you mean

code orange

the xcerts - i donâ&#x20AC;&#x2122;t care

best album

best live

turnstile nonstop feeling

brand new

frank carter and the rattlesnakes - blossom

muskets

turnover - peropheral vision

a loss for words

hindsights - cold walls - cloudy eyes

enter shikari

beach slang - the things we do...

architects

justin bieber - purpose

arcane roots

best on twitter

best festival

pet grief

slamdunk

brenden murphy (counterparts)

2000 trees

rou reynolds ( enter shikari)

outbreak

mark hoppus (blink-182)

hevy download

tips for 2016

so punk fest london emo fest

pet grief wallflower pale cheeks renounced roam creeper boston manor birdskulls black peaks

who needs to get in the bin neck deep creeper coldplay slaves racists oli sykes

who surprised you pine grove - “where the hell has this band been hiding?” brighton - “for being home to so many amazing and underrated bands” the pop punk fanbase - “for defnding neck deep through all that shit” justin beiber - “some amazing songs this year”

justin bieber wstr whirr as it is metro station patty walters pop punk greebs

Photo by Isha Shah

interview

Eleg Sat down on red chairs on the roof of Camden’s Barfly, we are joined by Sheffield’s charming Northerners, Elegies. Known for playing hectic amounts of local shows in the Yorkshire area, the scene has been pretty lively for several years now. “Well, not so much now… There used to be more of a tight knit group. I think it’s all fallen apart a bit, to be fair,” vocalist Thomas Hoyland begins. “There are a few good bands kicking about.” Sam Gibson pitches in telling us about the amount of hardworking bands that don’t get enough credit, due to the lack of shows and poor turn outs, which seems to have gloomed over the scene. However the UK scene is still very much alive as there are plenty of new bands the two lads suggest supporting including Keeper from Leeds, Community Puncture and Bad Side. The band have a very distinctive sound that progressively lightens with every release, adapting to their current influences of Bring Me The Horizon and While She Sleeps. Hoyland begins to tell us about the progression of their EPs. “We’re just going to go through the rhythm and play what we play, and what comes out comes out, you know what I mean? We don’t aim for a

different sound. I guess it just comes with what we’re listening to at the time.” Gibson seems to think that Elegies have become less gnarly and have chilled out a little. “We’re a lot more open minded than we were for the first record. So if you ask me if you think we’ll work with it, I think we probably will keep the progression. I don’t think we will stay the same band consistently forever,” Hoyland finishes. There’s never a straightforward influence to a bands sound, or a standard list of influencers that you could give, as Hoyland begins to explain. “You take influence from all the things you hear, even from the things you don’t like, all the shit you hear on the radio. That obviously influences you ‘cause you hear it 24/7.” Lyrically the band gather their chosen words from other bands, but to Gibson it’s also from words or phrases they like, “It’s weird because you just see different words about and it can mean different things to you than to me. That’s how I’ve always written my lyrics really. I’ve never really thought that I’m going to write them in this kind of style or anything like that.”

Being influenced by similar sounding bands often gives people a chance to pick holes by comparing others to them. Elegies have been put up there with some pretty top bands such as While She Sleeps and Bring Me The Horizon. “I think it’s a great thing, obviously. Those two bands are unbelievable. They are so monstrous. It’s obviously a great thing to be compared to them. It’s always a Sheffield thing,” Gibson expresses. “You kind of just want to be… I think, deep down as a musician, you want to be recognised as your own thing. Obviously when you’re a band like us who are trying to make it in the industry, you’re always going to be compared to other people,” Hoyland expands, “They’re all metal from Sheffield; they’re all basically trying to follow in their footsteps, all these local bands from round where we are… So, yeah. It’s definitely an honour to be… If we can go as far as Bring Me have or Sleeps have, we’ll be buzzing with that. I’m all for being compared to them.” The band have just wrapped up their first UK headline tour, which was sure to be very different from playing at Sheffield’s Corp every other night. “We played places we’d never played before. We

gies spent a lot of time in Scotland. We did Edinburgh, Glasgow, and Dundee. So it was nice to get away in the van, a bit of a reward. A lot of the stuff we do, because we haven’t been on tour really, is a lot of behind [the scenes stuff]… We’re just literally writing and practising. It’s just that little reward. It’s just nice to get out,” Gibson starts. Coming to the end of another tour, this time supporting Max Raptor, they have received a mixed reaction. “We always get that classic, ‘Oh I don’t usually listen to your stuff, but I can see that you’re an in-band,’ if you know what I mean. That’s been happening a lot. So I don’t know if we are a good band. At the end of the day, we just want to get out there; we just want to play to people. You know what I mean? So, for us, to play with Max Raptor is amazing. To play with anybody, who we think is a decent band, no matter if the fans are suitable to us or not”. The two vocalists are ever so humble about the opportunities they have had yet still strive for the bigger picture. Maybe one day they can fulfil their goal of collaborating with Marmozets’ Rebecca Macintyre. “If Becca Macintyre wanted

to do something on a track, I think we’d all be absolutely… buttered. So, Becca, if you’re reading this… elegiesband@gmail.live.co.uk!” There’s never a dull moment with Elegies, as they always find something to joke about, looking at the brighter side of things. The band recently signed to Hassle Records, which has impacted them greatly since selfreleasing their self titled EP. Gibson expands more on how it has benefited the band, “It pushes you more to do it, to be fair, as well. You’ve got people backing you. You get people who think you’re a good band and stuff like that, but when a record label approaches you to work with you, you feel like you’ve got their bulk of confidence. It’s nice to have a record label, definitely. It’s getting us to where we potentially want to be and to maybe get to places beyond that.” Hassle has released some amazing bands in the past, so for Elegies to be signed to such a label is a bit overwhelming according to Hoyland.

Hoyland explains how a label is not always the answer. “You can be a band, you can release a track on Bandcamp, there’s Soundcloud, there’s like a million things you can use and that’s just out on the Internet. If you’re making money without a label, why do you need a label?” Agreeing strongly Gibson adds, “Some bands can do that. There’s stuff like Kickstarter - you can get people to pay for your album before you’ve even recorded it. Just little things like that. You can definitely be self-sustainable. For the bands that somehow make it on a sole DIY thing, I think that’s sick.” Elegies have come pretty far within the few years of being a band, but how would they sum up their progression and journey, and what Elegies stands for? An agreement from both Gibson and Hoyland, they come together with “Fleetwood Mac, on crack.” Words by Isha Shah

After experiencing being both signed and unsigned, is being a DIY band in 2015 still psychically sustainable? Full of assurance,

Photo by Isha Shah

ALBUMs DRUG CHURCH

Birdskulls Trickle

9/10

HIT YOUR HEAD

8/10

Having previously appealed to a wide variety of audience (ranging from hardcore-punk to emo), Drug Church return with their sophomore album, Hit Your Head. They have previously mentioned that their return would mean losing a wide variety of audience, but somehow, that doesn’t seem like the case. Patrick Kindlon’s (frontman of Drug Church and prominent member of Self Defence Family) haunting screams give life to the beautifully poetic lyrics of Hit Your Head, song after song. Opening with a hard-hitting short track, this band immediately introduces the new melodically grunge sound. ‘Ageing Jerk’ is somewhat of a callout to the critics, the lyrics mentioning the rising scores of ‘modern classics’. Reviewers are mocked by lyrics such as “I give it, a 6 out of 5”. Kindlon really seems angry with the world. The single, ‘Bagged’, is another callout given life by Kindlon’s vocal style. This is immediately followed by one of the most spine tingling riffs of the album. ‘Drunk Tank’ starts off quiet and slow, giving you a break

from all the chaos; all the anger; all the god-damn shouting. This seems like somewhat of a midpoint for the album. As good as these tracks go, after ‘Green Like Me’, the album seems to drop in quality, becoming lazy and extremely predictable. However, and this is a strong however, the album strangely redeems itself with ‘What’. The spine-tingling sensation of Drunk Tank’s riff continues in this track, where rather than Kindlon’s screaming, we’re given a story– a very simple, but very gripping one. This may be the first time a cliff-hanger is used at the end of an album. What then are we? We’ve been criticised for so many of our actions by Drug Church, either in a direct or an indirect manner. So who truly are we? Are we just a product of a society where criticism means more than the art? Maybe we should all just give up and go home. Words by Soroush Fereydoni

Having featured on a killer EP with fellow grunge-rockers Bloody Knees, September saw the three-piece release their debut LP in Trickle through Dog Knights Records. Building massively on their Nirvanaesque sound, Birdskulls have out done themselves with their sophomore release. ‘Poltergeist’ opens the album and sets the mark. A tentatively slow start with a reverb drenched riff echoes before it all kicks off. The contrasting vocal styles of raspy, Cobainstyle shouts to the cleaner, well presented melodies, shows that while the band’s sound is angry and rushed, a lot of care has been taken to make that apparent in the track. The LP drives on with ‘Sever’ and ‘Silverface’ incorporating slower, heavier riffs, and the drums really pushing it all forward. With the opening few tracks, the band have really nailed that retro, 90s era grunge sound, whilst still reinventing it with guitar hooks and a perfect blend of effect-ridden guitars. ‘Thursday’ stands out as proof that Birdskulls have more in them than just distorted anger. The melodies yet again stand out and create what is a beautiful track. It’s by far the standout

song on the album in itself. Kicking back in with ‘Trickle’, the track features an ending that will blow the roof off any venue when played live. ‘Ghost World’ is another brief departure from the noise, but plays well as a slow paced head-banger which shows off the entire band’s talent individually. Birdskulls end the album with the lengthy ‘Coma Hospital’. It’s odd for a band to end an LP with an eight-minute song, but it works; emulating the sounds and vocals of the songs preceding it, the track plays out incredibly well and highlights the songwriting prowess of the band. It also rounds off the entire set of songs in a great way, which is often hard to achieve. It’s no doubt Birdskulls had an exciting future ahead of them as soon as they released the split with Bloody Knees, but this LP builds on that, and then some. Showcasing the band’s intelligent song crafting at a very early point in their career, and introducing songs that will go off live. A solid release from the Brighton-based grunge-punks. Words by Jack Hounsell

CROOKS It is difficult to pinpoint exactly what Crooks are. Fusing elements of melodic hardcore and modern rock, the end result is anything but the jumbled mess you think it would be. Are We All The Same Distance Apart kicks off with an anthemic and cathartic four minute rollercoaster entitled ‘Above Me’. Equal parts melodic as it is adventurous, it leads perfectly into the slower more melancholic intro to ‘What Might Have Been’. A more straightforward track it seems a little too close to the top of the track listing for its full effect. A common issue with music in line with Crooks is that it sounds like there is a rush to cover all their bases before the track is over. There is the faintest feeling of this with Are We All The Same Distance Apart, a feeling that each part comes and goes before it has reached what it could have been. ‘Schöne Seele’ shows

are we ALL THE SAME DISTANCE APART

6/10

how to not fall into this trap. Rather than change elements of a track too quickly, each sound melds with the next and creates a beautifully cohesive soundscape... Following tracks ‘May Be’ and ‘A Few Peaceful Days’ keep this atmosphere going but with enough change to keep an audience more than interested. ‘Harmony Falls’ wraps the album up with a nice little bow, full of angst for the first 40 seconds, it then gives way to a slow solo guitar piece than could move anyone to tears. Given a little more space and freedom for each instrument, Are We All The Same Distance Apart could have been an album of the year contender. As good as some parts are, there is the overwhelming feeling that perhaps more could have been done. Words By Jack Webb

Nords Studies IV 10/10 Opening like some good friends gathered at a party listening to their favourite bands with a few drinks, a fast tempo draws you racing, blindfolded into the stone cold but beautiful world that is created by Nords through their experimental landscape of postpunk artful melodies. Unusual, vivid lyrics cast mythic sounding spells, chanting the likes of “hoping for the wolves to sing a hymn we once forgot” . Opened like Pandora’s Box, ‘...Set Theory...’ unleashes a myriad of audible treasures in the form of tragic stories. Animalistic aspects of human nature traced back to tribal ancient metaphors of wolves and birds, stones, caves and storms alongside vulgar proclamations of “fuck” playing out in the fourminute epilogue of a terminated intimacy. This all rushes into one blur, encircling modernity with a unified and timeless sense of lust and loss. Studies IV unravels like a postrock journey and incorporates

fragments of mundane alongside the extraordinary. During the second track, ‘Break Thumb; Escape Cuff!’ the beautiful flutelike voice of Susie Ryuu sings a sweet departure from Lukas Lyjak’s comfortable, soft-shouty punk melodies which reign over the remaining composition. The clicking and reeling of a tape player and the slow, reversed high-pitched synths combine with snapshots of voices and traffic, sending us on a path of nostalgia and time travel. Seeing a past-lover move on to someone else, witnessing their happiness in anguish, appears to be a topic well-worn with which many can relate, but is approached so experimentally and captured so accurately here, that it becomes refreshing and raw. Tender and warming at one end of its scale, and fearless and biting at the other - this two-track EP diffuses themes of departure, moving on, finding

happiness, grieving loss and making important life choices across a desolate, bittersweet soundscape of technically skilled guitar arpeggios and snowflake

melodies which twinkle above heavier post-rock backdrops. Words by Arriana Corr

Photo by Isha Shah

Alaska shrine 9/10 With song titles such as ‘Kawaii’ sitting alongside ‘We Think of Our Leader Day and Night (Sunol)’, Alaska give scope to the spectrum of culture weaved into this postmodern indie tapestry of sound. Describing themselves as “good ol’ American drug rock” having created an album of ‘psychedelic’ nature, many song titles reference a lifestyle of weed and wornout sofa surfing. The resulting sound of Shrine is laidback but airy and brimming with atmosphere. Sweet, sultry vocals have just enough roughness to lift them out of the mix and give poetically crafted evocative words validity, whilst the screams are cathartic but un-intruding. Frantic dancing guitar melodies open up ‘Kawaii’ with images of deer galloping across a fresh snowscape springing to mind, pine trees scraping the cold sky. The energy of the tune really demands your attention before sweetly sifting a lullaby-esque, dreamy heavy reverb riff at the end which walks you wonderfully into their well-worn jeans feeling, instantly likeable, slower tempo,

‘Hashish Christo’. The vocals here are catchier, more tangible and are fondly reminiscent of ‘90s Californian emo punk. These persist amidst more floaty other worldly elements of their math rock intangible melodies, stopping you from getting lost whilst Alaska guide you through the barren landscapes of crashing cymbals and building chords. Undeniably irresistible rocky outcrops of hooks which are minimalist, skillful yet potently poetic, scream “faces in the form of silence”, and “throwing expired violet at a sunset”. These climb majestically over a heavy landscape of multi-layered guitar and drum tundra on the second side of Shrine, during ‘Helluv’, and echo in a lull towards the end. With the words, “I saw you already waiting…”, Alaska paint a nostalgic glimpse of a lonely life. This is perhaps the most illustrative and delicately composed masterpiece on the album, but does not overshadow the other songs; only serves to act as a signpost that Alaska are capable of incredible songwriting, as not a single track on Shrine falls short of such

brilliance. ‘Shrine’ is a tenderly crafted, all encompassing, chilled walk through math rock and experimental post-hardcore, and incorporates many unexpected, awe-inspiring landmarks of sound that make it a venture not to miss, even for those inexperienced or not overly keen on such genres. Alaska, not to be confused with the various other groups sharing

the same name, are a quartet from Nevada, with all their five releases dating back to 2011 available for free (with optional donation), to download from bandcamp. Touring the states this winter, hopefully with more of the critical attention they deserve, Alaska will branch out to Europe soon, having never played outside of the US and Canada to date. Words by Arriana Corr

boston manor

temple gardens

Blackpool boys, Boston Manor, have managed to maintain a consistency within their music which a lot of bands can lose over time - as they return with new EP, Saudade. With the familiar bouncy rhythms, strong, snappy lyrics and a sense of confidence belting around their tracks, Saudade makes you want to stage dive - but also break down and cry.

8/10

Saudade 9/10

Like musical bartenders, Boston Manor still remain the kings of mixing genre cocktails, as they shake and stir their way through the heartfelt punch of main single ‘Trapped Nerve’, displaying the emo influences with tear jerking lyrics. “I wish you felt better/ because you are better than me” blasts from Henry Cox. This pours effortlessly into the bouncy, pop punk opening of ‘Asleep At The Wheel’, which is nipped at the

ankles by its fast-paced verse nurturing the generic pop punk influence that Boston Manor still flaunt with such a swagger. The four incredible tracks of Saudade, have only pushed the quintet further, try not to push too far though, or they’ll take over pop punk - and then the world! Words by Billy Young

Sandpaper Lies

Brighton’s Temple Gardens’ début EP is full of intricate guitar playing and profound vocals. The opening of first track ‘Render Me Unconscious’ is almost reminiscent of King of Leon’s ‘Talihina Sky’. Singer and guitarist Harry Mitchell’s vocals are guttural and robust. His superb vocals combine well with bassist Oen Bigg’s deep, gravelly bass sounds whilst Will Nash’s more aggressive vocals juxtapose well with Mitchell’s smoother sounding tones. ‘One For One’ seems inspired by the likes of Pink Floyd and Jimi Hendrix, sounding psychedelic in most parts. What stands out most on Sandpaper Lies is the use of saxophone and clarinet by Nash;

the saxophone is particularly captivating on ‘Deeper Shade Of Blue’. The contrast between Mitchell’s husky, yet smooth vocals, with the soulful saxophone give a bluesy feel to the track. ‘Unlike You’ is a beautiful song, with beautiful lyrics– “I don’t have to make you feel down/to better myself”. Mitchell’s soaring vocals are a particular highlight on this track; he sings the lyrics with such, emotion and passion, very similar to Caleb Followill of Kings Of Leon. Sandpaper Lies has all the right amount of rock ‘n’ roll with an innovative mix of psychedelic and blues elements. Words by Chloe Rose Eaton

Client Joy Is The Only Treat 5/10 Client., a band from Hamburg, Germany released their debut album Joy Is The Only Treat in October last year. You might be thinking, “Why haven’t I heard of this album before?”, well there’s a reason for that: it’s just fine. And that is the issue throughout this album. From the opening song ‘Devotion’ to closing song ‘Joy is the Only Treat’, there’s rarely any moment that stands out. In fact, the whole album sounds like one song stretched out into a 40 minute blur. It sounds like they’ve taken inspiration from bands such as Basement, Citizen and Mallory

Knox but not taken that inspiration further than passionless regurgitation of previous works in the genre. As for the overall sound of the album, it fits in perfectly with the emo/grunge scene and maybe that’s the problem. The emo/grunge scene in the UK has been growing and developing for a couple of years now, almost forcing new bands to find something fresh and distinctive to stand out from the rest crowd. The rest of Europe are just starting their own bands and communities so that may be why this album is so average in comparison.

This is just another record to add to the already saturated genre. Client. - and the whole genre need to stop blindly following the scene and do something different and exciting to stop this mechanical churning of average records. It’s saddening that this is another forgettable album when Client. obviously have talent. The record is produced well and the sound is clear and crisp, even the album artwork is beautifully produced. The only thing lacking is innovation, which, unfortunately, is what they need to make this a decent album.

Words by Emily Gunn

HUNTER KILL HUNTER Find A Way Home 7/10 Politically charged, with an important message for the young British people of today, Find A Way Home is aggressive and edgy, yet clearly a cry for peace. Opener ‘We Will Rise’ is upbeat, containing distorted guitar riffs and a catchy melody. The aggressive gang-style vocals work well and help emphasise the message behind the lyrics - a theme that continues throughout the album. Vocalist Justin Jackson, and guitarist and vocalist Stuart May, harmonise well together throughout the album. The aggressive vocals are robust and

strong whilst the clean ones are soaring and serene. It’s the perfect mix for this EP and perhaps a metaphor for message behind it. The gang-style vocals continue throughout and are noticeably captivating on the Finch sounding ‘Streets Of Yesterday’. For the most part, this album is very alternative rock sounding, but this track in particular has a far more “emo” sound. ‘Street’s Of Tomorrow’ is reminiscent of Alexisonfire, with a repeated riff throughout that is infectiously catchy. Throughout the London-based quintet’s EP are eerily haunting

interludes of broadcasts and speeches that go along with the theme of the record. They help tie the story of the EP together and prove that these guys want to strike up thought. Title track ‘Find A Way Home’ is a beautiful and perfect ending to the album as it is melancholic, stirring up all kinds of emotion. It seems positive in parts, yet aggressive in others; the soaring vocals on this track are stunning. Even though Hunter Kill Hunter have only been together a year, they have managed to produce a truly magnificent alternative rock EP.

Words by Chloe Rose Eaton

Chase the Day Tabula Rasa 7/10 London’s Chase the Day recently burst onto the scene with their debut album Tabula Rasa, and it truly is the work of a band who ooze confidence and vision in what they want to achieve. The album is kicked off by the anthemic ‘Pariah’, a track that sets the fearless tone for the rest of the album. As a characteristic in many tracks later in the album, the guitar hooks and backing vocals are Porcupine Tree-esque. Roaring out vocals with such confidence, you’d be forgiven for thinking this album was their third or fourth, not in fact their debut. The album’s

high points are almost certainly rhythmically - Tom Morello style riffs and Gavin Harrison orientated drum fills being a real strong point. But the album at times begins to feel laboured; tracks such as ‘Forgot Your Name’ and ‘Rats In Your Cellar’ almost feel like the band are pushing themselves to be better than they are. However, this is a record that has enough tracks to be considered a strong debut. ‘Damage Is Done’ is the album’s strongest song bar none– an anthem with a beautiful balance between guitar and bass and a superb backing vocal hook

that captivates from beginning to end. Lead vocals on the album are both a strength and weakness for the band, with some songs such as ‘Seed’ showing a variety of Dave Grohl sound-alike confidence, with the more delicate vocal harmonies of Steven Wilson. There are tracks where the vocals don’t seem to fit, but Chase The Day’s quality almost masks this slight weakness in the album’s texture. Overall, this is a strong debut of a band that don’t lack confidence, and neither should they. Tabula Rasa will give Chase The Day the impetus to go and

improve as a band; there’s certainly the makings of a very good band here. Words by Thomas Paddock

Photo by Isha Shah

weatherstate dumbstruck 7/10 Tangled in punk rock the Bristol four-piece followed through their rockiest release Dumbstruck.

riffs, have with yet,

‘Shutter’ highlights Harry Hoskin’s aggressively grungy vocals that remain dominant within the song. Kicking off a riff that then dissolves into an upbeat catchy beat, the track remains short with just enough punch. Much like their previous release Dead Ends, Weatherstate have embraced their punk rock sound with heavier bass riffs and withering vocals. ‘Ill’ is a perfect example of their past and present sound joining forces, as it carries a Decade scent throughout.

quartet has carried a positive attitude, each track being just as catchy as the last. There’s just about enough diversity for you to not confuse the next song as the one that just played, yet there still lacks any strongly memorable lyrics to scream to. However, as a whole Dumbstruck just doesn’t stick out as much as you’d like it to. Sure, there are some banger tracks that will be a blast to hear live and have a little dance to but the band does not seem too comfortable with filling out an EP, let alone a full-length. Words by Isha Shah

Focusing on poppier and faster paced rhythms, the

handguns Disenchanted 9/10 Handguns are the pop punk band you always needed. Opening with a call to arms and a ‘fuck it’ attitude, Disenchanted wants

to make an arrival and it does. With the well-trodden path of pop punk being injected with some fury and new flavours ‘Self

Portrait’ is the perfect taster for this album. This leads into the 90s styled ‘The Worst In Me’, a track with so much groove that nodding along is physically impossible. ‘Low Spirits’ is life affirmingly atmospheric and ‘Bury Me’ sounds like genre siblings Neck Deep without the crushing commercialism. The title track kicks the speed itch that many pop punk bands seem scared to even go near, even with the acoustic section it is relentless. But it is last track ‘Recovery’ that stands out as the pinnacle of the album. Both melodic and filled to the brim with angst, it is the perfect icing on the cake for Disenchanted.

as if this album was made just for you. As vocalist Taylor Eby weaves his lyrical spiderweb above your head you get dragged into each and every vocal line. With vocals this well performed, the rest of the band need to keep up and this is true from every instrument. A perfectly molded sound that grows on you with each listen.

Each track has its own personality and narrative and fits well within the album. Not a single hint of throwing in a radio track for the reward of airplay can be found. Sitting alongside Disenchanted is the feeling that what you are listening to is a personal journal,

Words by Jack Webb

Disenchanted follows the upwards curve that previous releases laid the groundwork for. The professionalism on both Angst and Life Lessons is continued but with more maturity and craft. A stand out album if there ever was one.

Atlantic Shore Stay Here 8/10 Atlantic Shore flawlessly blend fresh and airy indie rock and pop. Fusing postmodern pastiche production with overdriven clean cut guitar in the style of The 1975 with retro, sunshinethrough-a-window vibes reminiscent of Turnover – there is no way that the soft melody of the quartet’s debut single, ‘Stay Here’ with its infectious laid-back chorus can pass by unnoticed. With over 13,000 views on the official music video on YouTube, the single is definitely getting attention.

perfect subtle roughness to the smooth waves of sound the young group create. Technically minimalist, but intricately composed with a heartbeat rhythm, the track never loses its colourful momentum. Perfect driving music and somehow both soothing and uplifting, Atlantic Shore only showcase promise for greater things to come - as this single is their only release immediately available. Words by Arriana Corr

Dan Noble’s candid vocal style adds a

THE XCERTS live like this 9/10 It’s been a busy year for Aberdeen’s The Xcerts. Having played a summer packed full of festivals, as well as touring with the likes of Deaf Havana, the trio have topped it off by releasing a phenomenal five-track follow up to their 2014 album, There Is Only You. Opening with familiar title track ‘Live Like This’, the band jump straight into the release managing to create a sense of power and ease. Vocalist Murray Macleod’s beautiful Scottish twang wraps its way beautifully around every word, their instantly recognisable style ever present. ‘Bored’ and ‘Heaven’ carry on the momentum, reducing the pace but by no means the quality. Although both

tracks are well constructed, the chorus of ‘Heaven’ stands out as the most infectious piece of writing on the release, something that would undoubtedly translate perfectly into a live setting. The EP also includes demos for ‘Kids On Drugs’ and ‘Waste Away’. Unlike many bands who seem to include these kind of tracks to fill space on a release, The Xcerts give a real insight into the development of their songs. As expected, Live Like This is a solid, well constructed, and stunningly presented EP. It only hints that 2016 may be ground-breaking for such a talented, often understated group of musicians. Words by Adrianne Goron

The Disposal Kind Self Titled 8/10 The 90’s almost seem like they’re back with The Disposal Kind’s debut self-titled EP - drawing on all influences from Bad Religion to early Foo Fighters whilst still making their own sound. Throughout the EP there is no break between songs, just pure power raging from start to finish. The EP kicks off with lowfi track, ‘Why Do I?’ featuring vocalist Charles Dando yelling out, questioning his motivations for everything. This, alongside

punky distorted guitars, creates a winning combination for mass movement live. One of the highlights of the EP comes from song, ‘Yeah I Know’ delivering a punchy riff brimming with attitude and a catchy chorus anyone can learn quickly. The final track, ‘The Disposal Kind’ brings a nostalgic mood to the EP, and if there was a certain criteria for what makes a typical song on a game

like Tony Hawk’s Pro Skater, this would be it. Regardless of the EP being recorded in a bedroom, there is not much distinction between it and a professional recording station. The Disposal Kind are a true testament to how DIY punk music should be. Words by Charlie Hill

Photo by Isha Shah

J3WEL Sick of This 7/10 The extremely individual and niched sound of the chiptune genre may not be everyone’s cup of tea. It’s bleepy and glitchy production makes for catchy tracks, and for those who play videogames, it is drenched in nostalgia. Southampton’s Connor Fowler, otherwise known as J3WEL, is one upcoming artist, part of the ever growing UK scene.

an old-school video game at an arcade.

Chiptune is a genre defined by its technology, where an artist creates their own individual work based on their own influences. J3WEL’s debut EP Sick Of This was released on Cheap Beats, the same label as his own inspirations including Galaxy Wolf, HarleyLikesMusic, Cheapshot and Monodeer. But his inspirations draw further to non chiptune artists such as Lux.impala and G Jones.

Opening track, ‘Acid99’, has almost a false start to it with a glitchy and breaky opening. Sounds build around it gradually until it’s heavy in production. A sample of dialogue “I had a bad feeling about this” is followed by a breakdown of a heavy low bass and simpler production and then builds again. The synthesized bouncy noises are reminiscent of Crystal Castles in 8-bit. This is almost like seizure music.

J3WEL promised that this EP was going to be “four tracks of bass and awesome”. Indeed, it’s big heavy bass, sampling, and it’s addictive melodies along with tight production make it truly awesome. Listening to this is probably how you’d feel on acid immersed into

When it comes to electronic music, the lack of lyrics can make it hard to bring across emotion, but the deep bass and hard hitting samples in songs such as ‘Tripping’ make this is the darkest and heaviest music the young chiptuner has written to date - far from easy listening.

‘I Hate You’s melody makes it probably catchiest of the EP, if a little repetitive. It’s a hard bassy track with varying dynamics, building and breaking down into a half time beat with absolutely mental bleeping effects - at this

Echoic Testify

point the music sounds like it’s on drugs.

‘Cut Throat’ is filled with laser sounds and samples similar Words by Rosalyn Boder to ‘Tripping’, a track that is reminiscent of sounds from The

7/10 You wouldn’t expect a band that plays extensive shows and is supported by a pretty large following to have only recently released their debut EP, yet Reading four-piece Echoic boast just that. With five songs under its belt, Testify is simply just a little taster of what’s to come in the future. Blending heavy, repetitive riffs with melodic percussion, Echoic are a breath of fresh air from a genre that consistently spews out the same old bullshit– it’s about time someone fresh on the scene put a stamp of originality on their work. Whether it’s the indie-style reverb pulsing in the background of ‘Testify’ or the heartfelt acoustic ballad ‘Keep Me Warm’, each track differs immensely yet still remains memorable. Vocalist Connor Turner’s range is impeccable

Photo by Isha Shah

Super Mario Bros. ‘Tripping’s repetitiveness makes it slightly boring but the perfect backing for a videogame.

throughout– though in some of the more dramatic pronunciation, it’s an awful lot like Don Broco’s very own Bobby Damiani (not that it’s even a bad thing, look how well they’re doing). The only thing that lets the EP down considerably is the simplicity of the lyrics. Whilst it’s good to keep choruses repetitive in some songs, it grows tiresome as Testify draws on and almost feels like a cop-out. Echoic are easily forgiven though; it’s clear that they’re a band who thrive from live performances and each song would certainly fill a venue with adoring fans singing every word. There’s no denying there’s a gap in the market for a band like Echoic, so keep an eye out because you’ll be hearing their name again. Words by Harriet Stanley

twiabp&inlatd harmlessness 8.5/10

singles basement promise everything With a surprisingly upbeat and enthusiastic start, you wouldn’t actually think you’re listening to the emo quintet Basement. On their comeback with a brand new album, the forever-sad gang have whipped away their poruing tears, and started to work on uplifting music that makes you want to get out of bed on a gloomy Monday morning. Andrew Fisher’s vocals still glide with a stern and constant pitch, as overpowering riffs consume the song. While lyrically they may have need more time to come up with a better line then, “When I’m high, I’m now, when I’m low, I’m low.” Basement will always be held in high regards.

From the crescendo in the outro of the opening track, ‘You Can’t Live There Forever’, it’s clear to see that Connecticut-based nonet The World is a Beautiful Place & I am No Longer Afraid to Die have breathed new life into their music with their second full-length release, Harmlessness. The song starts with a skeletal acoustic riff and gradually builds until the presence of all nine members is felt, and this seems to be a theme running through the whole record. The post-rock influences that glimmered throughout the emo outfit’s debut album have been expanded here, with each member of the band contributing something significant. Instruments such as violins and synths seem to have an increased presence, and the variety of instruments used reflects the equally ambitious nature of the songwriting; songs like ‘January 10th, 2014’ tend to meander from one mood to another, with effortless tempo changes and time signature shifts being employed to keep the song engaging throughout. Closing track ‘Mount Hum’ might take the title for best closer of the year in any genre, with its multilayered outro and ‘loud-quiet-loud’ dynamics proving to be a poignant encapsulation of the spirit of

Harmlessness as a whole. As well as this, it’s worth noting the improvement of the vocals on this record compared to the debut. Main vocalist David Bello provides a fairly subdued approach when compared to the slightly overbearing and nasal style of singing on Whenever, if Ever. Bello decides to stay within his vocal range, and while it’s fair to suggest that his melodies might sound a little stale by the end of the album, the decision to use this restrained approach is largely a wise one, with the increasingly-prevalent vocals of keyboard player Katie ShanholtzerDvorak combining with Bello’s in a very natural and cohesive manner. Harmlessness is an album that absolutely cements The World is a Beautiful Place’s position as the forerunners of the emo revival scene, and you’ll be hard-pressed to find an album more ambitious and grandiose in scope - while also retaining an accessible sensibility - all year. The World is a Beautiful Place have really carved out their own identity here; something that is a breath of fresh air in a scene littered with vacuousness and rehashed ideas. Words by Lewis Edwards

hindsights Wither It’s time for a change, as vocalist Benio Baumgart steps down from smashing some riffs, to just focusing on his powerful vocals. The new track from Hindsights brings a kick of energy that has been progressing with each release. ‘Wither’ is a release of poppier mixes that the band have been waiting to explode. Since they’re not so “sad since ’11”, Hindsights are striving for a catchy song that you can replay without getting a headache. Dipping into a slow break where all the guitars come crashing down, their melodic based music is allowed to burst in bashes of anger. While this may be a massive step for the fivepiece, venturing into an easier listen, they haven’t lost any of their signature spark.

elegies cocoon Taking over a new wave of heavy music that’s doesn’t fall under the same category as Emmure, Elegies have followed in a similar direction as their fellow brother in Bring Me The Horizon. Expanding their vocal range as well as instrumental melodies from Daylight Disease, the six-piece have pulled their focus on moderating their sound as each month passes. Easily another infectiously catchy tune, the Sheffielder’s have done it once again, producing a alterative based song that opens more doors for mainstream listeners. Words by Isha Shah

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festivile

heaven

sheffield corp - 15.11.15 First to take the stage are Sheffield’s own Dead Harts. The five piece open with heavy riffs and strong screaming, the crowd hanging on frontman Mathew Baxendale’s every word as he opens up pits by screaming, “open this fucking floor!” With a rapid turnaround between songs the band make the stage their own and give the crowd a good show, full of character and powerful, original tracks. As the Icelandic four piece Muck take to the stage, they show incredible musical talent and potential - but with the crowd stood back and poor interaction from the band, there is a weak atmosphere in the room. Muck hold their set together with their talent and fast paced, well written tracks. With the crowd and the band not connecting it makes it difficult for them to get any kind of reaction from the crowd, yet as they play at unbelievable speeds, the room is baffled by their musical power. Next come Superheaven, a four piece band from Pennsylvania. They change the atmosphere in the room with their more grunge, chilled-out vibe and the crowd fully enjoy the heavier Nirvana feel to the set. The room is full of energy as the band announce: “This song is called Gushing Blood…it’s about killing people…” As the crowd explodes and lyrics pour from all corners of the room, it’s clear that Superheaven have made their mark on Sheffield - despite originating 3470 miles away, the band clearly has the backing of the locals. The excitement in the room builds as the night wears on with the anticipation for Every Time I Die to make their way forward and give the crowd what they came for. With the energy already building in the room, there is an explosion of noise when they hit the stage. “Bang your heads and jump around!” screams vocalist Keith Buckley. This results in the appearance of the first crowd surfer, which only empowers further head banging and moshing. The band take a quick minute out from their set in order to let the crowd know that it is guitarist Jordan Buckley’s birthday. Their charisma really shines through as the room belt out ‘Happy Birthday’ and present the guitarist with a cake, who then smothers himself in it with only a little of it making it into his mouth. This doesn’t alter the fluidity of the set, although for the duration of ‘Werewolf’ cake is flying all over the stage. With the smooth song transitions and fast riffs, Every Time I Die prove to the room why they are here. The band follow you with their belter ‘Roman Holiday’, and finish their set with a powerful play through of ‘Moor’ – with its steady keyboard that throws you off slightly, to Keith Buckley’s haunting voice ringing through the crowd. However, the songs still have hardcore chorus’ which still inspire many crowd surfers to make for the barrier. Words by Natasha Groom

every time i die Photos by Jonathan Bell

Live

bane + code orange underworld, london - 05.11.15 9/10

After the seminal hardcore group’s final release Don’t Wait Up which dropped in 2014, Bane fittingly decided to come back to the UK (again) to play their final tour (again). With a solid discography, 20 years of playing some of the best live shows in the scene and inspiring a plethora of younger bands in their wake such as Have Heart, Rotting Out and Title Fight, it’s safe to say that while all good things must come to an end, Bane will have an incredible legacy to leave behind. Some may argue that Code Orange are an odd band to have as support for ‘classic’ hardcore band such as Bane, however you can’t argue their popularity over here after their headline tour last December where the majority of shows sold out. Within seconds of their opener ‘My World’, the dancefloor splits vividly into two sides, with kids spinkicking and crowdkilling the living daylights out of each other over the song’s crushingly heavy riffs. There’s hardly a moment to breathe as Code Orange blitzes through a nice mix of songs from I Am King and Return To Dust, with Jami Morgan commanding mid song for everybody to “fucking kill each other”. Even the ‘slowest’ song in the set, ‘Dreams Of Inertia’ with its shoegaze-esque aesthetic sounds stupidly heavy in a live environment, mostly because of how evil these kids look on stage. By the end of I Am King, the dissonant notes pierce through the PA, and the audience are nothing more than dishevelled shadows of their former selves. Lifting an incredibly emotional weight off of their

Photos by Sam Haines

shoulders, Bane opens with ‘Calling Hours’ a powerful call to arms that even includes Reba Meyers from Code Orange who comes on stage to do her beautiful vocal section. Bane have never pretended to be a particularly complex band, but It’s amazing to see people in their 30’s and work attire to come out of mosh retirement for them - which shows that they must have struck a chord with them in their teenage years. Vocalist Aaron Bellard still knows how to whip the crowd into a frenzy of stage dives and posi two stepping, even when arseholes decide to start fights with other audience members. Thankfully this doesn’t last too long, and the guy is kicked out about three songs deep into the set. They switch very fluidly from newer tracks to classic anthems such as ‘Swan Song’, and even deep cuts such as ‘Sunflowers and Sunsets’ which tells the story of how Van Gough went mad in his state of loneliness. Above all, when Bane finish with ‘Can We Start Again’ and the encore of ‘Count Me Out’ there’s very few hardcore bands that sound so incredibly tight live with their instrumentation, and still sound just as cathartic and brash as they did 20 years ago. Whether or not this is their final tour for real this time or they come back for another festival a few years down the line, Bane utterly smash the Camden Underworld this time, especially when there’s no fucking barrier in the way. Words by Ashwin Bhandari

code orange

Live

hindsights + apologies i have none barfly, london - 23.11.15 8/10 Starting the first date of tour with Hindsights’ ‘Wither’ release show, Apologies I Have None are first up to entertain the crowd. Stood in the over exposed red lighting, lead vocalist Josh McKenzie expresses his hatred for the damn things. “Can we get rid of these red lights? I know it’s a bugger for photographers and I’d like to see what I’m playing.” Instantly the band hit it off with a very familiar crowd, who know every single lyric to every single song. Three men stand at the front, who have one hand pointing in the air, and the other clasped around a pint of beer screaming with each breath, dancing to the upbeat music Apologies blast. Bassist, PJ Shepherd livens up the stage with his jumps and plunges towards thin air. He dives around the platform, creating a joyful atmosphere that compliments their rocky music. Awkward silences while the band starts to tune and the audience stay quiet are non-existent with Apologies. There is always something that McKenzie has to say, while the crowd reacts with laughs and banter back to the very charming men on stage. With only a few collections of songs to play from, the band blasts their bangers with a very active crowd waiting to join along. Shortly following, the Burnham/Maidenhead newly six-piece pack themselves onto the Barfly’s bluely tinted stage. ‘Grey’ opens a melodic intro to Hindsights set, as the crowd readies themselves for stage dives with their overpowering chorus. Keeping their rocky edge alive, ‘Pensive’ sweeps in as hair flicks linger in the air and swaying begins to take place. From being so comfortable as support, Hindsights have grown some guts, owning the stage with headline worthy movement, producing some hard hitting riffs. ‘Wither’ then gets a callous reaction with common faces screaming right into vocalist Benio Baumgart’s face. Now swamped by hands crowding his face, Hindsights give into playing ‘Sore’. Never played live before, their guitar focused music eases out into head bangs from all. Growing with every show, the Barfly now is packed with kids constantly flying in the air, all-trying to get into a picture to instagram later about how mad they went. Also developing with confidence and sharpness, Baumgart’s vocals are crisp as ever, delivering vibes of Brand New. With the night ending a littler sooner than the crowd wanted, Hindsights have moulded with a tighter fit, performance wise as well as vocally. Their “sad since ‘11” slogan is slowly disappearing and a much brighter side to this is shown. Words by Isha Shah

apologies i have none

Photos by Chiara Ceccaioni

Live

Photos by Isha Shah

max raptor + elegies Barfly, london - 19.11.15 8/10 Drawing a close to the short UK tour with Elegies, the six northerners enter in support of Max Raptor for the packed out show at the Barfly Camden. Cramped on the lowered stage, Elegies make an imminent start to a startled crowd. Vocalist Sam Gibson joins them on the floor, as he paces around before letting out a roaring scream right in their direction. Unexpectedly, the band drop into their heavier side with bassy riffs and loud drum crashes; no one expects a harsh melodic howl to escape from the stage. Setting themselves apart from the previous support bands, Elegies take heavier breaths, with a lot of action heating up on stage. Debuting their latest release, Daylight Disease, the band carries a lighter rock tone that they have been working towards, similar to new Bring Me The Horizon. Lingering around since 2007, Max Raptor now makes their appearance on stage to the cheering crowd that aren’t all on their phones, but young adults to matured

parents. Releasing their newest EP Damaged Appreciation, the four-piece scream out all four songs to a crowd who shockingly know every word. Seeing a totally different audience going mental to a band that are still pretty modern was certainly a weird sight. Headbanging, hair flicking and red faces swarm to the front as they bounce around vocalist Wil Ray to catch a line. ‘Blue On Red’ bounces its way in with a small push pit forming, as the crowd reacts to each song with full certainty. Still keeping the crowd entertained, Max Raptor share a few jokes and song dedications to people who cheer and clap after each one. Max Raptor have a strong ability to never lose interest with their angsty, rocky music. Live, the band provides just as much energy as they make you feel on record. With just enough punch as Marmozets have, with a mixture of rocky grooves that Arcane Roots carry, Max Raptor know how to work a live show. Words by Isha Shah

Live

s o t o h p in

max raptor + elegies Barfly, london - 19.11.15

Photos by Chiara Ceccaioni

Live

the amazons + vant (headliner) + swoons lennon's, southampton - 08.11.15 8/10 Having played the venue only a month ago, the Reading four-piece feel at home on the small, green-lit stage at Lennon’s. It’s hard to believe that The Amazons are not headlining the night. Although things get off the mark a little slowly, with ‘Burn My Eyes’ and ‘Stay With Me’ being only good instead of the greatness the band usually encompass, the momentum increases with every song. The Amazons pace through tracks such as ‘Millions (The Party)’, with each provoking a greater response and enticing more movement from the growing crowd. The pace picks up several notches as ‘Ultraviolet’ surged from the speakers. Their most recent single, and opening track on their EP Don’t You Wanna, sees the crowd suddenly kick into action, singing back the lyrics and moving like nothing yet. Although consistent in their set, there is something more refined about their newer material that translates brilliantly into a live setting. Following this with ‘Junk Food Forever’ the atmosphere is maintained. The Amazons are near faultless in their performance of the instantly recognisable and memorable song. They are contained by the venue’s tiny stage, but could easily be playing one much greater, proven by their musicianship tonight. The band finish with ‘Something In The Water’ - by far the track that best displays vocalist Matt Thomson’s ability and unique sound, particularly as he sings the line “I close my eyes”. Combine this with the ever powerful drumming of Joe Emmet (you’ll struggle to find a more enthusiastic drummer anywhere), and you’ve got a perfect way to end the set. A great performance by a great band, The Amazons are without doubt one to watch. Words by Adrianne Goron

Photos by Matt Goff

Live

Photos by

emple gardens Bleach, brighton - 19.11.15 8/10 Brighton’s very own Temple Gardens may have only just released their debut EP Sandpaper Lies, however, their tight performance proves they should be taken seriously. It’s a particularly special performance as it’s the release show for their EP. The quartet manage to incorporate both alternative rock and blues elements with a touch of psychedelia. You can hear an influence of Jimi Hendrix and Pink Floyd within their sound.

Leon) - to his intense and energetic stage presence, Mitchell sure knows how to keep the audience entertained. His vocals are particularly beautiful on ‘Render Me Unconscious’.

However, what sets the band apart from most other artists is the use of the clarinet and saxophone throughout their set. The juxtaposition between the serene playing of the saxophone, and the guttural singing of vocalist Harry Mitchell is superb. Vocalist and guitarist Mitchell is every inch the frontman; from his smooth, yet gravelly vocals - which are similar to that of early Caleb Followill (Kings Of

Finishing on ‘Unlike You’ the band show how tight they are by all standing sideby-side, singing “I don’t have to make you feel down/to better myself.” The gang style vocals are a perfect finish and their soulful, heartfelt and melodic sound is a highlight through their entire set.

The saxophone playing of Will Nash is sleek and is a particular highlight on the band’s first single, ‘Darker Shade Of Blue.’ Nash’s more aggressive vocals provide a good contrast alongside Mitchell’s, especially on ‘Unlike You’.

Words by Chloe Rose Eaton

Live

beer money

grove street families

reaper

giants + Grove Street Families + Reaper + Beer Money the luna lounge, london - 26.11.15 9/10 All in aid of charity, Step Ahead have teamed up with MIND mental health for their second show. Ready to make a difference to those who are less fortunate, a full hardcore line up of bands take to the floor stage this evening. With two locals to open up the night, Beer Money and Reaper get the crowd pumping with two steppers spread around the floor. Shows like these invite mates, essentially being a gathering to catch up with an old friend as everyone seems to know each other without introductions. Vocalist Oscar Rowley dedicates the next song to Tinder and the ridiculous amount of matches he apparently has. There seems to be a few in-jokes shared around with light-hearted humour expressed in between songs, which the crowd reacts to. Working their way up to main support, Grove Street Families, who started out as a joke band, draw in a tighter crowd with the floor space slowly covered in feet. Filled with grooves and more grooves, the four piece tonight are one member down, yet that still doesn’t affect their performance. Gradually getting more involved at regular bounces from side to side, balloons fly all over the place as bodies fling themselves in all directions with overly excited moshers. Running slightly over time, Giants now gather themselves on stage, diving right into their fast pace set. Hearing ‘Did It Mean So Much To You’ live after a very long time was refreshing to hear, as the Essex guys have improved. Playing a large chunk of their last release, familiar words were shouted as the crowd banged their head in remembrance. Recently recording a brand new record, the guys announced that it will be out early next year, debuting a few tracks off their new material. Packed with foot stomping beats, Giants have swayed to the heavier side of their skate punk essence with raspier vocals and screeching guitar chords. ‘Misguided’ returns a familiar sound, as the crowd kicks off to its upbeat tempo. Vocalist Edward Parker clomps from side to side with aggressive fist pumps. With a chorus you can’t help but scream gang vocals to, the track takes you back to seeing Giants play almost every week. Their heavily influenced optimistic mindset expressed within their lyrics shine on you, lifting your hopes and drowning your dearest of feelings. ‘Another Day Another Year’ ends their set with an outburst of bodies interacting with their most treasured song. Clearly developed within the time they had recording the new album, Giants have ventured into heavier hardcore riffs, with denser breakdowns to mosh to and harsher vocals to mic grab to. The five-piece are still smashing every note. Words by Isha Shah

gigs Monday

Tuesday 1

BRING ME THE + Neck Deep HORIZON @ Hippodrome Kingston

The Wytches ON TOUR

BLOODY ROOTS PRESENTS:

Wednesday 2

THE STORY SO FAR

@The Joine

+ Judas + Bkly @ The Garage, Lo

JAWS

pure yo

noting BUT THIEVES

+ GRIM EXSISTENCE + REALM OF TORMENT @ The Alex, Southampton

@ The Haunt, Brighton

15 lower THAN ATLANTIS the @ The Roundhouse, London KOOKS

ghost

the one hundred

christ eve

@ The Boderline, London

@ Barfly, Camden

Andy Jordan

+ Dead Souls @ Koko, London

kodaline

@ O2 Shepherds Bush Empire, London

@ O2 Guildhall, Southampton

+ tURNSTILE + dRUG cHURCH ON TOUR ACROSS THE UK + NAI HARVESTON TOUR

Ithaca

Thurs

snuggl

@ Leeds Temple o

Photo by Isha Shah

sday

HE MAGIC GANG

Friday 4

edge day

blind diy authority

ers, Southampton

outh

+ Splitknuckle + Mercy @ Eade Road London

yn ondon

Saturday

dead fest

13 don broco

clutch

+ Coasts + Arcane Roots + Symmetry @ O2 Academy Brixton

@ O2 Shepherds Bush Empire, London

nightwish

@The SSE Arena, Wembley

gnarwolves

the damned

spraynard + such gold@ The Underworld Camden

tmas

+ oceans ate alaska + monolith ON TOUR

@ Sheffield Broomhall Centre

black tounge

@Planet Sounds, Southampton

Sean McGowan

southampton

@The Joiners, Southampton

@DIY Space, London

Sunday

@O2 Academy Islington, London

boxing 27 day

christmas

le fest

of Boom