October 2015 #5 by New Roots Magazine

new roots issue 5 OCTOBER 2015

roam headline the new roots house show plus butserfest reviews and interviews, reading festival, acoustic bands, oli sykes, and much more Photo by Isha Shah

don broco brand new wstr moose blood ZOAX gnarwolves

Photo by Isha Shah

A Note from the team Hopefully if youâ&#x20AC;&#x2122;ve read our previous issues, youâ&#x20AC;&#x2122;ll have noticed that each issue is a progression from the last. This is no exception, with a surge of new contributors and photographers adding brilliant new content. We continue to be overwhelmed by the support and interest we receive, and just want to thank everyone for giving us their time. We have a huge eighty-four pages of content, including the New Roots house show, which took place last month. There we saw Roam headline what turned out to be an incredible night, and you can find a full album of photos on our Facebook, as well as 8 pages in this issue. We also went to Butserfest, where as well as catching a ton of great bands, managed to interview Don Broco, Zoax, The One Hundred, and Deference, which can all be found inside. As well as that, we have more topical features, including one on Bring Me The Horizon frontman Oli Sykes, who claims that everyone should take acid before they die, and the importance of artists understanding the influence they have. We talk about security that have been ruining gigs around the world, with a particular focus on Southampton, which has seen several incidences recently of disruptive security in multiple venues taking their roles too far. You can also find a spread on acoustic bands that you should know about, which we plan to make a recurring feature, alongside our existing Uprooted segment. The reviews section in this issue is the biggest so far, with eight pages of albums, as well as loads and loads of live reviews and photo specials. The new style gig guide has moved to the back of the magazine, where you can see clearly what gigs are happening this month. As always, we are looking for people to get involved with New Roots and join our incredibly friendly team. If you are interested, you can contact us at any of the ways in the purple box on this page. Thankyou from everyone at New Roots, we hope you enjoy this issue.

Editors: Rosalyn Boder, Chloe Rose Eaton, Adrianne Goron, Isha Shah, Harriet Stanley Designer: Adrianne Goron Subs: Chloe Rose Eaton, Adrianne Goron, Charys Newton, Harriet Stanley Contributors: James Bannister, Ashwin Bhandari, Rosalyn Boder, Lewis Cato, Arriana Corr, Chloe Rose Eaton, Joe Gilbertson, Adrianne Goron, Natasha Groom, Emily Gunn, Charlie Hill, Jack Hounsell, Josh Jones, James Parkinson, Jon Pickard, Isha Shah, Harriet Stanley, Natalie Webb, Billy Young Photographers: Sadika Ahmad, Ashlea Bea, Jonathan Bell, Chiara Ceccaioni, Ryan Dalton Rodrigues, Sam Haines, Elliot Mcrae, Ellie Mitchell, 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.

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

Contents news

uprooted - pale cheeks

uprooted - pushing daisies

sucker for anything acoustic

Interview - montrose

youâ&#x20AC;&#x2122;re idolising the wrong people

festival crowds vs gig crowds

interview - homebound

ARCTANGENT

security - friend or foe?

interview - tuskens

reading

the new roots house show with roam

butserfest

interview - don broco

interview - zoax

interview - the one hundred

interview - deference

album reviews

live reviews

gig guide

news ‘smells like teen spirit’ is most iconic song ever

According to a study commissioned by car manufactures Fiat, ‘Smells Like Teen Spirit’ is the most iconic song ever. Using analytical software, musician and computer scientist Dr Mick Grierson compiled a study that then produced a list of the

top 50 songs ever created. The study discovered that most hits don’t use many chords and are in the region of 120 beats per minute. Among the list where other hits such as ‘Hotel California’ by The Eagles, ‘Billie Jean’ by Michael Jackson, and ‘Sweet

Child O’Mine’ by Guns and Roses. Words by Chloe Rose Eaton

funeral for a friend announce farewell tour

Funeral For A Friend have split up after fifteen years together. The band announced the split over their social media channels, writing a long goodbye on their Facebook page. The Welsh post-hardcore group will perform their favourite albums Casually Dressed & Deep In Conversation and Hours, In full. Tickets went on sale on the 18th of September, with many

of the venues already selling out. Always loyal to their fans, Funeral For A Friend had this to say: “We want to thank all our families and friends, all the past members of the band and those who’ve helped us along the way. Let us not forget all the amazing bands and musicians we’ve had the

honour of sharing stages with over the years. Finally, much love to the fans who have bought our records, bought the tickets and who come out to sing, scream and dance along with us.” Words by Chloe Rose Eaton

bring me the horizon hit no.2 in uk charts

Bring Me The Horizon manage to reach No.2 in the UK album charts, with their fifth studio album That’s The Spirit. The Sheffield based band missed out on the top spot to Welsh rockers Stereophonics. However, Bring Me The Horizon were only 1,300 sales behind Sterophonics’ album Keep The Village Alive.

Canada and New Zealand.

That’s The Spirit has also been extremely successful in other countries, with it being their third No.1 in Australia. It also reached No.3 in Sweden and No.2 in

“Thank you so much to all of our fans, new and old, for helping us achieve our highest chart position yet with almost triple the first week sales of Sempiternal.

The album currently sits at No.9 in the official UK album charts. (25/09/15) The band released this statement on Facebook, following their chart success:

We can’t believe that 44’300 of you have bought our album this week and we’re so proud of how you’ve all got behind it. Meeting you at shows and signings this week and hearing how much this album means to you has been the best part of this whole experience. We can’t wait to get out on the road and play these songs for you guys!” - Oli, Jordan, Lee, Matt and Mat. Word by Chloe Rose Eaton

takedown festival on hiatus

Takedown Festival is now on hiatus. The announcement was made via the festival’s Facebook page on the 22nd of September. The festival, which is held in March at Southampton University is well known for its array of rock, metal, and hardcore acts. Last years festival line-up included; Charlie Simpson, InMe, Arcane Roots, Heck, The One Hundred and Mallory Knox. Here is the Facebook post from the Takedown Festival page:

“So it is with a little sadness, much fondness and a healthy dose of hope for the future that we must announce a hiatus for Takedown Festival. It’s been no easy decision but with much of the team busy with projects and careers and the festival climate looking choppier than ever we feel that it’s the right decision at this time. Thanks to all of the bands, staff and incredible volunteers we’ve worked with over the years. And thanks to all of the folks who have come to a

Takedown since it’s humble beginnings back in Salisbury in 2008. We love you all! We still have a little something in the pipeline for 2016 in a slightly different format so keep an eye out for that, in the meantime, be seeing you...” -Takedown Festival. Words by Chloe Rose Eaton

Photo by Isha Shah

uprooted

pale cheeks pale cheeks 2014- Present Barney Hall: Guitar/Vocals Charlie Foran: Bass/Vocals Adam Jack: Guitar/Vocals Jack Evans: Drums We’re always complaining that London never has enough decent bands around and that the music scene in the very heart is dying, however Pale Cheeks have secretly emerged to change that. The four-piece, Reading/ London based band who have recently just released an EP, are delivering classic indie punk sounds that refreshes the ears of today’s youth. It’s apparent that the band takes a large influence

from Title Fight, Superheaven and Mineral, but also Jimmy Eat World, Smashing Pumpkins and Knapsack. With only just one release, Pale Cheeks have not been making much of a noise for a long time, however they have still managed to play a few high profile shows around the south of the UK. Including London Emo Fest, Attention Thieves, A Loss For Words and Gnarwolves. The quartet recorded the EP really quickly with Dave Draper at Tower Studios over the course of two days. Having a few ideas about songs, and sounds since 2014, the band only became officially formed late December of that year.

bring four tracks of upbeat rockiness and bluesy sounds for a rainy day with ‘Jerry Lundegaard’. Fans of modern and dated music, in touch with the current UK scene and bands that are emerging from it like Hindsights, Wallflower and Muskets, you may want to give Pale Cheeks a listen and add them to your list of new talent. Tracks to look out for: Spent, Fade Out, Fade In, Translucent Words by: Isha Shah

With such a great support following and talent being explored with their first self-titled EP, Pale Cheeks

Photo by Isha Shah

uprooted

pushing daisises pushing daisies 2014- Present Roberto Martinez-Cowles - vocals and guitar Liam rodda - guitar Conor Feeney - bass Tom ruff - drums The UK has never been so strong and filled with so many different sounds, Pushing Daisies from Bristol, just add to that collection. After having a small line up change of Liam Rodda taking on lead guitar and Conor Feeney on bass, the emo/grunge quartet have just released two new tracks, free to download. With a short EP release of Middle Child this year, the band have already gather quite a bit of attention with mastering elements of punk, indie, emo and grunge to create a whole new dynamic of original sound. ‘In My Head’ begins with a firm grungy baseline

that continues throughout the whole song. There is a certain level of sadness that’s clearly apparent in the guitars, while the vocals remain constant. The second track to follow, ‘Child Of A Widow’ takes on a similar presence, but adds a more range. Both tracks work as a small release, teasing you for more music, but also expressing progression from their first EP.

music is heavily influenced by remarkable bands such as, Basement, Balance and Composure, Silverchair, Mineral, Sound Garden and Superheaven. However personally the band themselves do enjoy a lot of modern pop punk bands, such as The Story So Far, Seaway, and Knuckle Puck, apparent in their touring choices.

Even with their short time frame of being a band, they have already played a bunch of shows with various pop punk acts WSTR, Best Years, Homebound, Montrose, Decade, Hindsights, Tuskens. Not to mention two mega shows with Save Your Breath and Pity Sex, earlier this year. For a band who is very involved in the scene and supporting their mates, Pushing Daises do an awful lot, so if you haven’t yet seen them at a show, where have you been?

Tracks to look out for: Throw Me Away, Self Beliefs, I have None, In My Head Words by: Isha Shah

Being the epitome of DIY, the band released the record, however they are still looking to release a full EP by the end of this year. Their

FEATURE Outside the popular acoustic music, of Ed Sheeran, Ben Howard, and mediocre BBC Radio 1’s Live Lounge albums released in time for Christmas, the average person wouldn’t look past what they are given at face value. We are here to pick up the momentum, giving you a list of acoustic songs and artists to check out at your own leisure. This is the latest in what we think you ought to be listening to, from long-loved favourites, bedroom artists, and the in-betweens. Thom Weeks Thom Weeks may be most known as the frontman of Brighton punk trio Gnarwolves, but when they’re not touring, recording or playing shows with the likes of Alkaline Trio, NOFX and Lagwagon over the summer, Thom has been putting together a record titled George. A hugely acoustic record with familiar punk vibes, the minimalist use of brass instrumentation sets this bedroom record a bar above its counterparts. ‘Autobahn’ sounds like it could have been something Conor Oberst would write, while personal highlight ‘Benzo Blues’ holds what are some of Weeks’ best lyrics to date. You can listen to George on Bandcamp. (https://thomweeks.bandcamp.com/) SOAK Since the release of Before We Forget to Dream, SOAK (born Bridie Monds-Watson) has been tearing up the road across the world in support of the new record. While beautiful in its own respect, SOAK manages to delicately attach new depth and meaning to songs on the album through her recent Spotify Session. Where ‘unplugged’ may be a better description than ‘acoustic’, personal favourite of the five songs is ‘Blind’. Echoingly melancholic, it captures Soak’s powerfully evocative style in a way that many could only dream of. (https://play.spotify.com/ album/6UICR0iptLmSLLXz9HbHs5) The Homeless Gospel Choir I Used To Be So Young shares ideologies about the world we live in; capitalism, consumer greed and the power TV has over the people. Combine that with waking up in your thirties and realising that you are getting old in a society you are reluctant to be a part of, and you have The Homeless Gospel Choir’s best and most socially conscious work to date. It’s not about getting with the programme, it’s about disregarding that and waking up. This record, especially songs like ‘Untitled’ and ‘Musical Preference’, are humorous as much as personal and are for fans of The Front Bottoms and Andrew Jackson Jihad. (https://www.youtube.com/watch?v=s7nBSjLSfAk) Ead Wood Recorded over four days in the summer of 2015 and pieced together in the Rushmore forest where Shenley Studios is based, Ead Wood’s debut EP Vista is airy and peaceful like the place it’s been recorded in. Complimenting indie-rock with acoustic undertones, opening track ‘Bleed’ hints towards Modest Mouse influences, while the use of repetitive vocals and melodies in ‘Winter’ is appreciative of minimalist but powerful songwriting. Download Vista for free on Bandcamp. (https://eadwood.bandcamp.com/releases)

Photo by Ashlea Bea

Sarah Carey Fuelled by Buckfast and Yorkshire Tea, Birmingham based Sarah Carey has solidly been playing shows and writing music, releasing her debut EP In Twenty Years We Won’t Be Sad earlier this year. Carey may be the busiest musician in the Midlands, also running Not Cool DIY and supporting the likes of Koji and Bob Nanna (Braid). The EP focuses on the anxieties most university students face; the sometimes overwhelming worry of leaving home, mental health, trying to juggle everything while feeling like it’s not enough, and the tough decisions everyone will inevitably have to make. Opening with a grooving instrumental in the title track, this fades into the defining track ‘Yr Pants Are On Fire (Or Something)’, which should be the anthem for all university students (“I feel like shit, this far from home”). Stream In Twenty Years… here. (https://sarahcarey.bandcamp.com/album/intwenty-years-we-wont-be-sad) Neutral Milk Hotel The most difficult part about writing this article is choosing which Neutral Milk Hotel song to write about. It was a tough call, but ‘Two-Headed Boy’ is one of NMH’s finest. Jeff Mangum is a musical genius; crafting beautiful work that flows like poetry. The ambiguous lyrics are as impressive as the passion that Mangum breathes into them; ‘Song Against Sex’ on the 1996 album On Avery Island is a perfect example of this, as Mangum seems to be deliberate in his openness, allowing space for the listeners to fill with their own meaning. After the untimely end of Neutral Milk Hotel (despite various reunion shows over the years) in 1998, In The Aeroplane Over The Sea became the trump card for every indie kid in the world, but undoubtedly one of the greatest albums in the past 20 years; a true landmark in lo-fi and indie-rock, much like Radiohead’s OK Computer. Bearing in mind many NMH songs are in separate parts, here’s a Youtube video of ‘Two Headed Boy’ Pt 1 & 2. (https://www.youtube.com/ watch?v=XQ8xH76fwMU) Sun Kil Moon While Mark Kozelek first made his name with Red House Painters, it’s Sun Kil Moon that will define him. Expanding on acoustic balladry and melancholic narration, Kozelek’s vulnerable, honest, yet evocative storytelling on display on latest Sun Kil Moon release, Universal Themes. ‘Cry Me a River Williamsburg Tattoo Blue’s’ is haunting in its emotional depth of death, childhood memories and the metaphors behind modern life. Percussion on Universal Themes comes from Sonic Youth’s Steve Shelley, whose low-tempo performances really add to the pensive drama of Kozelek’s guitar. Words by Josh Jones

sucke

er for anything

acoustic 9

interview

Photo by Isha Shah

montrose Melodic Pop Punk quartet from Bath, now mixing hardcore grit into their Four Year Strong-eqsue bouncy melodies. Debut EP If Only You Knew is available for free download on bandcamp and their second studio EP Monster Under The Bed was only released June this year (2015). Montrose have shared the stage alongside UK pop punk heroes Neck Deep, Trash Boat and ROAM. Jason Bishop - vocals Sam Chard - guitar Ben Curd - bass Jake Matthews - drums Your new EP Monster Under The Bed has received great praise for the unique approach that you’ve gone for and how it stands out from your previous material and other bands. What were the ideas behind the songs and the sound that you’ve gone for? Jason: Well, we didn’t really go for a particular sound. We just wrote songs in the same way as always. We kind of write a riff and build a song around it really. We love all the current pop punk bands, but we didn’t want to just be the same one. We love all of that but we just want to play a bit rockier stuff I suppose. So you didn’t feel pressured by the current trends to move away from posi and easycore? J: No, not really. Our own personal music tastes moved away from that slightly anyway, so we just wrote what we were listening to at the time and mixed it all together. I think we were listening to a lot of Lower Than Atlantis and bands like that, so that kind of influence came in. But we wanted to make it sound a little bit like the old stuff but not poppy. We didn’t want to put out the same EP but just changed a little bit. What bands influenced you the most? J: We never really set out to make a song sound like another song. All of our favourite bands are really different, like Alexisonfire. We do love The Story So Far, Four Year Strong and all that kind of stuff. If anything I think we went for a Four Year Strong kind of vibe, out of all of them. When we write music there’s no direct influences, but millions of bands have influenced us to play. What drives you? is there a message behind your music? J: Not really. I guess each EP has a kind of thing behind it. The first EP was called If Only You Knew, because if the people who the songs were about knew they were about them, they’d kick right off. And Monster Under The Bed, is like when you’re a kid and you’re kept awake by what you think is a monster under your bed, but when you grow up, what the songs are about is the stuff that keeps me up. The next one is going to be called

Too Much Drink and it’s going to all be about alcohol... It’s not, it’s not. You’re touring across the UK in November with the Canadian band Coming Out Swinging, how are you feeling about that and what other future plans do you have? J: Yeah, that will be really fun. I think one of their guys was from here at one point and then they moved out there, so they got a few people from here that they could organise shows with. They messaged us and asked us to do it, and we were just like yeah, let’s just do it! It will be cool to get around a little bit and play in some places we haven’t played. I’ve never even been to Scotland, so it will be cool to play there. We’re writing loads of new stuff. We’re going to release a new song, the one that we played earlier (the jumpy one). So we’re going to release that, and then hopefully do some more tours and see what shows come up. Hopefully get on with some bigger bands if we can and take it from there. It’s awesome that you’ve got a new song out as well when you’ve literally just released your EP really recently. J: Yeah! Well, half the EP has been written for the last year, so for us it’s really old. I know it only came out a couple of months ago, but for us, we’ve had it for ages. So, we got bored and wrote new songs. We’ve got loads of new songs, but we thought we can’t play too many of them at the moment, so we just play the one at the minute. It’s great to know that you have loads of material for everyone to look forward to. Have you got three words to sum up what Montrose is about? J: Fun riffs and choruses. That’s all we go for! That pretty much sums it up I reckon. With that, would you say that it’s important for Pop Punk to have a message or can it just be about having fun? J: I think that’s the best thing about it. It can literally be about anything but it still sounds fun. You could write the most depressing lyrics, but because it’s catchy and it’s bouncy it still sounds upbeat and happy. Even though it could be about the most depressing stuff, if it’s bouncy, it doesn’t matter if the songs are sad or happy, it still sounds bouncy so it still sounds happy in a way. A lot of our songs are just really angry, but they don’t sound angry when we play them... apart from ‘Underperformer’. That’s the only one that really sounds angry, the rest of them are quite fun I suppose, and are just like jump around and stuff I guess.

FEATURE

you’re idolising the wrong people It’s true, you shouldn’t believe everything you hear on the Internet but when a frontman of an overly idolised band makes such a bold statement glorifying drugs, it’s hard to ignore. There is no need to introduce who Oli Sykes is, as I’m sure you are already informed. Despite the frontman still fighting his addiction to the class A ketamine, Sykes has outwardly declared, “You shouldn’t go through your life without experiencing acid, in my opinion. It used to be fun; it used to be an adventure. That’s why I did all those drugs,” in an interview with Metal Hammer. According to the online website, he “stopped taking his medicine so he can be silly and fun.” For Sykes to just express his views so openly to a pretty large and well-respected publication could be the totally wrong thing to do. Sure, everyone should have their views on life and their experiences shape the outcome, however for someone who is constantly put on a pedestal, (regardless if he wants to be there or not) to promote drug use to his fan base (who lets face it, are probably underage) is not very wise. These are the people who will listen to the bands you like, buy clothes that you design and come to every single show just because they think you’re God. Seriously, some even devote their life to become you, and change their hair, face, get the same tattoos, dress the same to become a budget version of you! For you to use your hierarchy

to voice “negative” behaviour is immoral. Perhaps it was slightly expected from Sykes. He’s never been afraid to voice his views before, and let’s be honest; do we even take what he says seriously? That’s if you believe everything you listen to. Most readers of corporate business are very passive and take what they hear off any source and think it’s always true, without questioning it. This is an interview, with no video or audio footage of the frontman of Bring Me The Horizon, of course they are going to twist things and make them a bigger deal then said. Anything you say in an interview will never be swept under the carpet, and journalists will use anything you give them, some even try to put words into your mouth. So can we really trust every “quote” that comes out of these “news” stories? What’s more of an issue is people who are considered to have a well valued view or opinion on a topic, talking about things that we do not need to hear. Drugs, alcohol, sex are constantly being plastered across the media with band members addressing the issues that we all already know about. Or worse, not taking them seriously, and if you’re Lower Than Atlantis’ Mike Duce, making unneeded jokes out of them. We should be encouraging our fans to be aware of what is going on in the world. Sure, there are countless amounts of topics that they can not

cover, but when brought up in the news with a high demand and rage, talk about them, don’t let them slide. A prime example of this would be police brutality in America and #BlackLivesMatter because these people who “have a say” don’t address them, and pretend like nothing is happening, their fans are also unaware and naïve to these on goings, therefore acting ignorant to their small problems. If you still follow Alex Gaskarth or any of the All Time Low members on Twitter, then you will remember him trying to justify #AllLivesMatter. The fact that these people are essentially abusing their power to voice views that shouldn’t be influenced on to small unknowing 14 year olds is not acceptable. So after all this time, nothing seems to have changed, apart from Stray From The Path, who practically made a whole album dedicated towards educating a broader audience who may be narrow minded towards the worlds corruptions - and a banging job they did too. Astroid Boys also addressing the issues of racism on their Facebook page, which was something you would except from a band that are so opened minded and involved with what is going on around them. It’s just a shame the topic seems to be lacking in 90% of the music industry’s headlines. Words by: Isha Shah

Photo by Sam Haines

FEATURE

festival cro vs gig crow Lets face it if you’re at a mainstream festival such as Reading & Leeds, then chances are you’re not there for the music. Gigs deliver a better atmosphere, but are there any differences in the crowds? Why would you pay a stupid amount of money to sit in the middle of nowhere, not remembering a single thing, whilst you wake up in piss and shit with all of your stuff missing? Doesn’t sound like a very nice experience. Over the years of attending festivals, we’ve decided to put a list together of the kinds of people you find at a gig, and those you find at a festival, and see what’s the big difference.

FESTIVAL CROWDS People are not there for the music, countless times I have asked random people who they were here to see, and the answer is usually the same. “I don’t know, just came here to get fucked.” The dickheads who just mosh to everything, no matter who you’re seeing, it could even be Kodaline, and still some idiot will be trying to start a pit in the middle of ‘All I Want’. Just don’t do it. “Do you want to buy some MD.” You never get sick of being asked that three times a day. You will also never get tired of seeing GCSE girls wearing short shorts, with their buts hanging out, flower crowns, war paint and bindis. Do they realise how fucking ridiculous they look? It’s not festival wear, it’s tacky. “Jesus Christ Fenton… ALAN!... Whoomp there it is.” These ridiculous words that people only seem to use twice in a sentence at festivals and NOWHERE ELSE. It’s all about sitting on someone’s shoulders and trying to appear on TV. I am sure your mum and dad are so proud to see you out of your mind on the BBC 1 highlights.

owds wds GIG CROWDS People seem more annoyed if you push by them to get to a spot. Everyone at a festival is pretty chilled and out of it, so they wont really notice you sliding by to get to the front. However, gigs are brutal, you get evil eyes, nudges and outright people who refuse to move. You can’t escape the smell. When someone lets one off or generally smells bad, you are stuck in that room for another few hours, there is no escape what so ever. The smell is usually better in an open field in the middle of nowhere. When you go to a gig you know the people round you are actually there for the music, and not just there to get hammered with jack and the cheeky lads. You always get the arrogant kid who stands right at the back of the venue and live tweets everything. His story on Snapchat is also over 100 seconds. What’s the point of going to a show when you have this kid on Snapchat? Free show eh? Remember the good old days when a band would get you to hold up a lighter and sway it around to a slow acoustic song. NO? Because it doesn’t happen anymore, everything has advanced and mobile phones are the new light source. The guy who overstays his welcome on stage and tries to do guest vocals for a song the band clearly doesn’t want him in. Get off the stage; you’re not in the band. Also stop trying to crowd surf to every single verse of a song, it’s annoying and you weigh a ton.

Words by Rosalyn Boder and Isha Shah Photo by Isha Shah

interview

homebound I’m Charlie, I’m Tom, and we’re in Homebound. This is a really generic question but have to ask, where did you get your name? T: “You know the song ‘A Thousand Miles’, the Vanessa Carlton song. It’s in White Chicks.” C: “Yeah, we thought that would be a cool name.” You play a lot of shows with similar genre bands, but who are your favourites to play a show with and why? C: “I like Boston Manor, they’re probably like my favourite band and cool to go on tour with.” T: “I would say As It Is, probably. Just the amount of people that come out to watch them every night.” C: “To be fair, I can say any band, like Trash Boat as well, every time we play with them it’s been a good show. We’re a pretty strong team so any band to be honest.” What other bands within the scene should we be looking out for? T: “Weatherstate, they are so underrated.” C: “Six Time Champion, yeah they’re another good one. They’ve been friends with us for quite a while, they deserve more credit than they get.” T: “Best Years.” C: “Yeah we’re playing with them tonight, good guys.” People on the UKPP pages slater the genre for being generic, what are your views on Internet warriors? C: “Don’t listen to them, they are not the sort of people we are concerned with, if they’re not going to like you, they are not the ones coming to shows. You need to be concerned with the people who are.” T: “Most of them people are the ones that won’t come to shows or buy anything.” C: “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.” What would be in a Homebound starter pack? T: “Nike shoes.” C: “Any sort of Nike SB.” T: “Ben Peak, a hat with a curved peak. Oversized t shirts.” C: “We try and not to be as stereotypical as that. Bad cars would definitely be one.”

What are your inspirations musically and lyrically towards the new EP? C: “Musically we sort of write what we like. We all listen to quite different music so we gain influence from different types of music. The old school bands like Blink-182, and Sum 41, but then the new sort of bands like The Story So Far, Real Friends, and Knuckle Puck. Lyrically it’s kind of depressing but it has a positive spin on it. Feeling like you’re not really going anywhere, feeling like everything around you is changing but you’re the same person, not going anywhere with your life and it makes you think, shit have I made the right choices. I try to put a positive spin on it and think, things aren’t always as bad as they seem. It’s quite relatable to a lot of people my age, as everyone has been through that stage in their life. What’re your future plans in regards to releases? C: “We’re working on a few songs, we want to try and get started as soon as possible as we’ve put out an EP, and we’re keen to get more out. T: “We had finished this one really early, we’ve been sitting on it for five or six months.” C: “We will probably release it halfway into next year, but for now we just want to tour as much as we can. It’s really important, especially when you have new releases to just keep touring.” Where is your favourite place to play in the UK and why? T: “I really like Stag And Hounds in Bristol.” C: “ It’s like a little pub really, we have never had a bad show there, every time it’s been a really good crowd.” C: “London is pretty good in general. It can be a bit of a hit and miss really, sometimes its really good but sometimes there will be no one, but I always enjoy London really. There’s not really a bad place, but London or Bristol.” What’s your favourite food to eat on the road? C: “Subway, you can’t go wrong with a Subway.” T: “Turkey breast and ham subway on the brown bread.” C: “It’s the cleanest on tour.” Sum up Homebound in a few words? C: “Just a bunch of guys attempting to play music.”

Photo by Isha Shah

FEATURE

arctangent talons Only in its third year, you’d expect ArcTanGent to be going through the teething problems associated with festival infancy, fumbling through brand-building and line-up miss-fires. Instead, the community spirit which emanates from Fernhill Farm feels like the result of aeons of studious cultivation. Much like its close sibling 2000trees, ATG embodies a culture and ethic that is treated like doctrine by its attendees; have a ton of fun, don’t be a dickhead.

tangled hair

But enough on the atmosphere for the time being; after all ATG is a festival that is passionately and intently about the music. The first highlight of the weekend comes from Alpha Male Tea Party and Cleft joining forces to power through a medley of riffs by artists such as Deftones, Slayer and Rage Against The Machine. Despite a great deal of the music on offer across the festival’s two-and-a-half days being confrontationally challenging, elitism is left bedraggled somewhere along the M4. Previous headliners 65daysofstatic serve as the marquee act on the festival’s warm-up day. Having performed at ATG and 2000trees in the past this should be something of an easy win, especially considering that on form their boundary-bending post-rock is all kinds of stirring and inspiring. Unfortunately, tonight is marred by technical difficulties, plastered over with a rambling and graphic diatribe against the Tories; however these issues are ironed out in time to deliver rousing executions of crowd-pleasing

deafheaven

fall of troy

cuts such as ‘Radio Protector’ and ‘Retreat! Retreat!’ Friday kicks off with a set from post-hardcore outfit We Never Learned to Live; usually consigned to the setting of half empty back rooms, the band’s searing drama translates to the packed Bixler tent with ease. Guitarand-drum duo That Fucking Tank fare less well on the Arc main stage; while they may have been around for longer than many of their peers, their performance is laden with errors that would make a great deal of their contemporaries blush with embarrassment. On the other hand, Rolo Tomassi follow and deliver with razor-sharpness; in one moment vocalist Eva Spence cavorts around the stage as if she has just found her old 5ive CDs, the next she shrieks with wraith-like menace. It’s the group’s balancing between out-there weirdness, brutalising ugliness and maligned beauty that make them so captivating and allows themselves space to sonically explore. Closing tracks ‘Opalescent’ and ‘Stage Knives’, both songs featuring on latest album ‘Grievances’, have a distinctly more considered feel than the rest of their repertoire and garner the most enthusiastic crowd response. On the Arc stage, Maybeshewill demonstrate their evolution from riff-reliant aggressors to ethereal soundscapers; a journey that the band have shared with the organisers, having played their events yearon-year. Their highest slot so far is rounded off with an impromptu encore, spurred on by the audience’s adulation. Like Reading, like Glastonbury, ATG/2000trees

is creating its own mythology and tales of acts rising triumphantly through the ranks in a fraction of the time. A reformed The Fall Of Troy draw one of the largest and most exuberant crowds of the weekend, their frenetic and unashamedly technical take on alternative rock hammered out with a confidence that makes their proficiency appear effortless. However, then The Dillinger Escape Plan turn up and do their typical job of making every other live band look near enough pitiful in comparison. From opener ‘Prancer’ onwards, the front pit is like an interactive slasher movie; you don’t know from which angle Dillinger are going to get to you from, but they will. As Greg Puciato scales the scaffolding of the Arc stage’s awning, you get the overwhelming feeling that ArcTanGent have just experienced their first ever landmark headline set. As the techies pack up and the silent disco equipment is wheeled out, ATG turns in to a totally different beast. Chin-stroking intricacies are traded in for Alien Ant Farm being belted out at levels that can only be mustered after severe intoxicants and ArcTanGent becomes an unabashed party with a comradeship that unites people like no other festival. As the festivities wind down at 4am, new friendships have blossomed and conviviality continues until sunrise in pockets of campsites. For an event that focuses on music that can at times rightly be accused of being overly introverted and calculating, the warmth of the clientele is simply unparalleled.

100 Onces initiate proceedings on Saturday morning, combining ramshackle, Drenge-ish instrumental rock with charismatic slacker optimism; sometimes in the midst of a catastrophic hangover a Californian-accented call to ‘shake your fuckin’ booties’ is exactly what is needed to motivate yourself back in to consciousness. Black Peaks prove why they have been bestowed with hype and airtime on Radio 1, delivering a performance that could easily be repeated on the main stages of Reading and Leeds. A torrent of rain wrote off the late afternoon/early evening for those who decided to take refuge in their tents and news that sub-headliners Cult of Luna had missed their flight to the UK was setting up the final night of ATG to be a very damp squib. Luckily, the group made it in time to play a headline set on the Yokhai tent; for a group whose music is impenetrable to light, the darkness of the tent more than suited them. Coming on to stage later than newly billed, their gloominess could easily be mistaken for aloofness; an atmosphere was certainly set, how inviting it was is up for debate. Meanwhile, on the Arc, Deafheaven play a career-spanning set and pay homage to Cult of Luna whom they say they wish they could have watched. The last band of the weekend, the group epitomize ATG’s sonic agenda; a tremendous fuck-you to all who say that heavy music is running out of ideas. Words by Lewis Cato

dillinger escape plan

chon Photos by Sadika Ahmad

FEATURE

security: friend or fo

oe?

Everyone has an opinion on security, no matter the situation. Whether you’re at a club and the bouncer’s giving you the eye because you can barely stand still, or you walk out of Asda, the alarm goes off and your eyes plead with the huge man in the suit because you really haven’t stole anything. Most of the time, as much as they can be intimidating and irritating, we understand that they have a job to do – to protect us. As much as it might suck to be turned away from a club for being “too drunk”, deep down you know that you probably needed to go to bed anyway. And as much as it can be frustrating to pull your receipt out and have the guard rifling through your shopping, it’s just a precaution because theft is a huge part of society. It’s fine, it’s acceptable, but... what about concert security? We’ve all experienced them and there are always the different types. You get the young one who’s having a great time, bopping their head to the music and gleefully handing out water to those straining against the barrier. Then there’s the big beef cake with his arms folded and a face like a slapped arse because he’d much rather be listening to Fleetwood Mac than this riff raff. What about the bloke who’s always the first to pull people over the barrier? And you always get the one who looks as though it’s their first day on the job and doesn’t even know where they are. For the most part, they’re there for the single purpose to keep you safe during the concert. If you’ve ever experienced being at the barrier then you understand how literally crushing it is - suffocating amongst the sweat of teenage kids throwing fists in the air whilst pushing and pulling in every direction because they need to be at the very front. Security are often on hand to pull you out when it gets too much, or even to supply you with a drink to save you from dehydrating in the god-awful heat. Brilliant! That’s what we expect from security. So why is it that there are far too many experiences happening where the security go on a power trip? It often seems to be the case during alternative music events. Moshing and crowd surfing have always been a part of the alternative culture– kids launching themselves across a sea of people, or throwing fists and pushing one another in the name of expressing pure passion over what they love. Sure, it might seem “violent” to some but there are unwritten rules about moshing; there’s an etiquette that most fans strictly follow because at the end of the day, we’re there to have fun. Therefore, there isn’t any excuse for a security guard to grab a fan, volley them to the floor and have two other guards pin them down to the ground. That’s exactly what happened at Soundwave Festival in Australia, back in February this year during Tonight Alive’s set. Vocalist Jenna McDougall took it upon herself to climb down from the stage and pull the security from the fan, who was simply there to enjoy the music. They weren’t trying to cause a fuss, nor were they wanting any trouble at all but for some reason, a smiling kid being passed along the crowd is threatening to some members of security. Or, how about that incident with The Story So Far’s Parker Cannon last year during Warped Tour? Most will be familiar with the story of Cannon himself physically intervening with a security guard who threw a fan to the ground. Sadly, it’s not uncommon for band members to call out security on stage and it appears to be happening more and

more frequently. 26th September, State Champs headlined a show at The 1865 in Southampton. The show itself was seemingly great but there was one little story that kept on cropping up– a security member allegedly punched a fan in the face. Whilst others are dispelling these rumours – after all, the key word is “allegedly” – it appears as though Southampton needs to buck up its ideas when it comes to choosing their security. Northlane recently played the Talking Heads in the city and after their set, they took to social media to make a bold statement about the security for their show. “I left the stage and interjected when I saw the head of security for the venue throw a kid that was crowdsurfing up against the wall by the throat and rough him up. During this incident he threatened to end the show for all of you guys.” Guitarist Josh Smith explained, leading on to comment on further altercations that were brought to their attention by the same security guard including a fan with a bloody nose who claimed to have been struck in the face by him. The security were not only intimidating to the fans, but to the band themselves with several threats being thrown their way and honestly, I can’t blame the dude for stopping their set to intervene because that shit just will not sail. It’s one thing to be heavy-handed with a fan when pulling them over the barrier, but to fucking punch them? It’s unnecessary violence and unreasonable force. Not even the police are allowed to use that kind of force unless they have every right to believe it was needed – which in most cases it isn’t – and I can certainly assure you that a sixteen-year-old kid with a band t-shirt on isn’t about to cause absolute mayhem that necessitates a knuckle sandwich. It’s ridiculous. These are usually grown men who are targeting primarily underage fans, and why? Does it get them off? Do they go home to their family and proudly say, “Tonight at work, I punched a teenager in the face because they crowdsurfed.” It’s sickening behavior that shouldn’t be tolerated. Thankfully, the security guard from Northlane’s show received so much backlash (and apparently he had his own Facebook page because he was known for such violence toward fans) that he was fired – and rightly so. Venues need to start cracking down on their security so incidents like this don’t happen again. At the end of the day, the majority of fans just want to express themselves in the only way that they know how. As much as crowdsurfing and stagediving can cause injury if reckless, more often than not it’s harmless fun that keeps the adrenaline of the show pumping – why do you think bands crave to see mosh pits breaking out and ask for their fans to crowdsurf? It’s purely down to being educated: security need to understand the types of fans they’re going to experience, and if they can’t control their temper or can’t handle the situation responsibly then they shouldn’t be put to work on that show. It needs to be drilled into those skulls that they’re there for protection, to keep you safe from any incidents; it’s just such a shame that more often than not, it’s security that we’re afraid of. Words by Harriet Stanley

Photo by Isha Shah

interview

tuskens Pop punk five-piece from Bristol with 2 EPs - Tuskens (2013) and Almost Over (2014) and a most recent single, ‘Harrison Close’ (2015) available across bandcamp and YouTube, and streaming on Spotify. Since emerging only two years ago, Tuskens have played with established groups Neck Deep, Moose Blood, WSTR and ROAM and have a sound which can be compared to an accelerated, energetic heavier revival of Real Friends and classic Blink-182. James Pope – vocals Jack Hewett - guitar Max Blair - guitar Ashley Holbrook - bass Matt Jenkinson - drums If you had to sum up what Tuskens is about in a few words what would they be?: James: Let Max sum that up... Max: Kanye West. What brought you guys together? Jack: Old bands breaking up. Everyone had done something musical with everyone else and then everyone’s bands started to end at the same time. So a few of us started writing some stuff together, that’s pretty much it. Everyone in the same place at the same time, and wanted to still be in a band. We made a new one and it’s better than the old ones. Your most recent single ‘Harrison Close’ has a more hardcore sound than your previous EPs. What is this song about and where do you plan to take your sound next? JP: The song’s about realising your mistakes, knowing that your friends are always going to be there; just getting a bit of aggression out really. So the song was

kind of faster paced. JH: We wanted to write something a bit faster. Our last EP was all a little bit more mellow. So we just wanted to do something a bit heavier, a bit faster, a bit more fun. We wanted something that would come across live really well. JP: That was it. We’re putting a lot of effort in trying to make our songs sound really cool live. What are you currently working on and what can we expect from Tuskens next? Matt: We’re writing another EP. Is it six or seven tracks? Everyone else: Six! Ash: Six, Matt, you always think it’s seven. MJ: I always think it’s seven. That means we need to write a seventh song! JP: Somewhere out there... MB: There’s one lingering. MJ: We’re doing a six track EP. And then hopefully we’re just going to play much as we can next year; maybe tour. JH: We’re recording everything ourselves at the minute, so it is taking longer than normal. But, we’ve been able to do so many more songs. If we’d gone to a studio it wouldn’t be a six track EP, it would have been shorter. So I think the time we’ve taken is worth it for what we’re doing. I don’t really know when it’s going to be out. JP: There’s no time limit, we just want to make it as best as we can. MJ: We’ll put a song out in the next couple of months hopefully. Will ‘Harrison Close’ be on the new EP? JP: Yeah. MJ: Like a version two though. JH: We’ve re-recorded it. It’s not much different, but it will be a newer version. Is the style of the new EP similar to that? A: It’s hard to explain.

JH: I think it’s closer to ‘Harrison Close’. It’s definitely got a mixture of everything. JP: We haven’t set out trying to sound like something. Like, someone’s had a riff or a drumbeat and just made a track out of that and went with what it was. So they’re all slightly different, we’ve got a slow one and faster ones... JH: I think the difference with this one is we wrote all the songs together in a practice room. Instead of before, me and James have done a lot of writing at home, made it on the computer and then taken it to everyone; and then it doesn’t turn out quite the same. Where as this, we’ve all wrote it whilst sat with our instruments and it’s just come out so much better. So it’s pretty much just whatever we were feeling at the time and whatever worked. We didn’t really have any ideas or feel ‘this is what it needs to be’. A lot of bands have chosen to step down from labels and self produce. What is your reason for choosing to do this? JH: Most of the reason for us is money. To go to a good studio, we did it with our last one, it cost us a lot of money. I think it was worth it and a great experience, but we just don’t have that money to chuck out. And if we do that, it will sacrifice something, like getting CDs printed, getting merch printed... we can’t do everything. Ash and Matt produce music anyway, so we might as well use that. Rather than spending a load of money, use the resources we’ve got. Save ourselves a lot and we can put it towards something else: CDs, T-shirts, doing tours; anything. I don’t know if that’s other bands’ reasons for doing it, but that’s pretty much ours. You need to pay a good price as well. We can’t go to a studio on a budget and it not be as good as what we’ve just released. So we’d have to spend a lot of money to make sure it’s as good as the last two. JP: Like we said, we can just go over and over and over things then as well. Say if we’ve finished recording and

we haven’t released it yet, we can just be like, actually that bit needs changing, and we can just go back into the studio and re-do it. There’s not like, once you’ve finished the studio time you can’t go back, you’ve paid for that then, that’s it. JH: It’s little things as well. It means we haven’t had to all take a week off work. We fit it in around when we can do it. It’s left everybody being able to work. Otherwise we’d be paying a load of money for a studio, then people would be taking holidays and not getting paid as much. It was the best way for us anyway. I think it’s a good approach to it. When you self produce the end product is entirely yours and you can be more proud of it in the end. JH: We just try and get it to sound exactly how we want it to sound. A: I think it sounds pretty good. Doing it self-produced hasn’t made the sound suffer at all. JP: I’d hope people won’t notice that half of it’s been done in a bedroom as opposed to the last one which was done in a studio. Hopefully everyone will agree. Do you think it’s important for pop punk to have a message or can it just be about having fun? JP: I think you can make it whatever you want it to be really, can’t you? For us, if Jack’s feeling happy I guess he might write a slightly happier guitar riff, or if I’m feeling however then I’ll just write some lyrics. JH: I like bands that are personal. I don’t want somebody to have this all about this one point, this one thing. I hate it when people on stage are just preaching about something. If you don’t agree with it and you’re watching a band you really like chatting about something that you don’t agree with, I don’t care. I do like it when people say, what’s this song about, and then this is personal to them, they don’t care if it means anything to anyone else, this is about this time in my life. Just write what you want, have fun with it. If you want to write a song about hanging out and doing stupid stuff, do it.

JP: I think that’s typically pop punk isn’t it. Having a good time. JH: The point of it is, have fun and do what you want. JP: And missing your girlfriend, or whatever. A: And how much can you hate your hometown! JP: Yeah, yeah! All: (Laughing). On that, do you have any particular examples, funny or bad, for why you hate your hometown? JP: What are you looking at me for, man? I haven’t got a bad story... we just have fun ‘cause we’re pop punk! JH: I’m still bitter about getting my coat stolen from a show. That still angers me. From a show in the secure room where all of our guitars were and everything, somebody stole my coat. This is two years old now and it’s still getting to me. JP: (Laughing) He’s still going on about it... He’s got a nice new coat. JH: That’s annoying. I don’t think anything’s happened involving shows or anything. JP: I chipped my tooth on a bottle of Lambrini... MJ: He’s got a picture. MB: It’s funny for the rest of us. JP: I don’t think anything that bad has happened otherwise. Nothing’s happened at shows or anything. Everybody in Bristol is pretty good, apart from the coat. JH: Apart from that kid that stole my coat! You’ve played with some other great pop punk bands over the last few years including Neck Deep and ROAM. Who’ve been your favourite bands to play with and who would you like to tour with in the future? MJ: Neck Deep show was pretty good. MB: Yeah, that was the best show. JH: It’s the best one we’ve done I think.

MJ: The crowd was just nuts. JP: Handguns was a good show as well. JH: Handguns were cool, they’re really nice guys. We’ve played with ROAM a few times now, we get on really well with them so that’s always good fun. They always put on a good show as well. The Moose Blood one was pretty good. JP: And the Turnover and Major League show. JH: We’ve been really lucky to play with some really good bands. They’ve all been good. We’ve not come across one band which haven’t been nice guys and chatted and everything. Every show we’ve done has been cool, I think Neck Deep was the best though. JP: Yeah, Neck Deep was my favourite, I think. A: Who else played it? JH: Montrose played it. JP: That was here (The Exchange), a year ago now. JH: It was just their last tour before Neck Deep went massive. Just after their second album came out. JP: Just after Wishful Thinking wasn’t it. I don’t know who I’d want to tour with, if I had a choice. JH: Real Friends, State Champs. JP: State Champs, yeah actually. A: Metallica! JP: What’s yours, Matt? MJ: Mayday Parade. JP: Max? MB: Mayday Parade. JP: Yeah, Mayday Parade, Real Friends and State Champs. That would be pretty cool. Just all of them. MJ: Warped Tour basically. JP: Yeah, Warped Tour! A: Metallica as well, Metallica! JP: Yeah, you said that Ash!

FEATURE

reading

Photo by Isha Shah

Neck Deep The past month has potentially been Neck Deep’s most significant of the bands future. In case you’ve been living under a rock, former guitarist, Lloyd Roberts, left the band only a week before Reading and Leeds due to allegations of him sending inappropriate messages to a fan that was underage at the time. Nevertheless, Neck Deep really pulled it off considering the amount of stress, scrutiny and pressure they’ve been under. Perhaps starting off a bit unsure of themselves during the start of ‘Losing Teeth’, but after the crowd returns Ben Barlow’s “woah-oh-ohs” the tension subsides and the band get back into their stride. As the first few chords of ‘A Part Of Me’ are played and the crowd sing along to every word all doubts are gone. When it could have all easily turned into a disaster, Neck Deep still managed to turn it around to play a strong set. 7/10

makes for perfect head banging, especially during ‘Bloodsports’ in which the diehard indie “lads” at the front get their chance to “mosh”. 7/10

American Football After celebrating the 15 year anniversary of their one and only album, American Football have returned. As stupid as it sounds, it’s quite bizarre seeing them older when you’re used to watching videos of a bunch of emo kids playing around. But as soon as the melody of ‘Stay Home’ is played, it’s like their hiatus never happened. The band are as tight as ever, every note is in perfect harmony with each other and their enjoyment and energy is palpable. They seamlessly run through fan favourites ‘Honestly?’ and ‘Never Meant’, perhaps with the vocals sounding slightly rougher than usual, before ending on instrumental ‘The 7’s’. 9/10

Don Broco Drenge Now a three-piece, Sheffield alternative rockers Drenge quickly rose in popularity in 2013. Strangely enough due to ex Labour MP Tom Watson’s resignation letter that ended with him recommending them. Despite being early in the day, Drenge come onto the stage brimming with energy. The addition of bassist, Rob Graham, improves their live sound tenfold, adding that extra punch needed to play on a stage as iconic and the Reading main stage. Their grunge sound

Just a couple of weeks after their second album Automatic was released, Don Broco are back at Reading festival, which lead singer Rob Damiani says is his “favourite festival ever”. Playing an equal amount of old hits and new songs makes the set have a nostalgic feel yet gives a glimpse of what is to come for the group from Bedford. Starting off with ‘Money Power Fame’ shows us what is to come for the next 40 minutes: catchy beats, singa-long choruses and, of course, Damiani dancing on

stage. 9/10

Knife Party Headliners at the Radio 1/NME tent are Knife Party, side project of Pendulum’s Rob Swire and Gareth McGrillen. After the first couple of songs, the constant beat gets tiring rather quickly, plus the continuing chant of “ooh eeeey” not only makes it harder to hear the music, but is also really fucking annoying. However, once Knife Party start sampling some of their more well known songs, such as ‘Internet Friends’ and ‘Boss Mode’, the dynamics change, rousing everyone from their bass induced slumber. ‘Begin Again’ is captivating; the use of steam jets, confetti cannons and pyrotechnics alone is enough to show how electrifying dance music can be. Ending the set on ‘Bonfire’, Swire tells the crowd to “lose their fucking minds”. Each drop drives everyone into frenzy as the bass ripples around the packed out tent filled with a sweaty mass. Some people even try to start mosh pits, which, to no one’s surprise, fail. Although starting off slightly mind numbing and tedious, Knife Party brought it back with their bigger hits, creating a set full of sweaty euphoria. 7/10

Friday

saturday FIDLAR A week prior to releasing their second album, Too, FIDLAR are on the main stage. ‘Stoked and Broke’ and ‘White on White’ shows their West Coast punk vibe: gritty, manic and full of chaos. ‘Cheap Beer’ leads to their hardcore fans crashing around into another chanting “I. Drink. Cheap. Beer. So. What. Fuck. You”, something that resonates with their young fan base. Closing on ‘Cocaine’, frontman and singer Zac Carper’s rough screams combine with thrashing guitars, creating this hurricane of noise impossible not to head bang to. 9/10

Marmozets Despite being relatively young in relation to the other bands filling the stage, Marmozets still have an immense stage presence and their unique sound captivates even the old metalheads waiting for Metallica. Playing songs from their only album The Weird and Wonderful Marmozets such as ‘Move, Shake, Hide’ and ‘Born Young and Free’ provokes the first crowd surfers of the day. Mid-way through the set the crowd start chanting “Marmozets” to which singer Becca Macintyre replies: “Stop, you’re gonna make me cry”. You can see why. Only last year Marmozets were playing on the small

Photo by Isha Shah

Cheer Up stage at Slam Dunk so this is a huge leap for them playing the main stage at Reading & Leeds festival and it’s clear to see that they’re only getting better and better. 9/10

Royal Blood Almost every publication around raves on about how Royal Blood are the “saviours” of rock music. Obviously these publications don’t know shit about music and/or are too pretentious to take notice of the bands packing out small grass roots venues around the UK. Nonetheless, Royal Blood do have some festival bangers such as ‘Little Monster’ and ‘Out Of The Black’, which go down a treat with the crowd. Musically, everything is fine, but there’s something bland and boring about the overall performance. Maybe it’s the fact that their songs have been played over and over on radio stations for the past year or so, or maybe it’s the lack of interaction with the crowd. Whatever it is, it makes for a slightly disappointing set from them. 6/10

Bring Me The Horizon Bring Me The Horizon are more prominent than ever in the rock scene. After headlining Wembley arena in December last year and having just released their new album, That’s The Spirit, things couldn’t look any better for their future. After a satire health and safety video that asks the

crowd to “open this place up as big as it will go” the mayhem begins. In the opening song, ‘Happy Song’, there are already huge pits, crowd surfing and walls of death, but what else would you expect from a Bring Me gig? It’s obvious that the fans in the crowd are as excited to have a new type of heavy music so far up on the main stage at Reading as the band themselves. The set is mostly filled with songs from their previous album Sempiternal, but we get an insight to what That’s The Spirit will sound like live during ‘Throne’ and ‘Drown’. Only the best of their old songs get played including ‘Blessed With a Curse’ and a brutal ‘Chelsea Smile’ during which Oli Sykes tells everyone to do the whole “sit the fuck down” routine. Skyes is all smiles as he runs around the stage and into the crowd. Things get a little emotional during ‘Can You Feel My Heart’ with him stating: “if it wasn’t for you lot, I’d be dead.” Everything about the set is near perfection. Not only do they sound incredible, which for main stage is sometimes hit and miss, but the production behind the show is visually compelling. Steam cannons and the images of gothic churches on the LED backdrop show how much effort was put into this set, which is potentially their most significant so far. It makes you forget about Metallica, for this night is all about Bring Me. If this show is anything to go by, they most certainly could headline next year. 10/10

sunday The Gaslight Anthem The last day of a festival is always bittersweet, and with a farewell set from The Gaslight Anthem on the bill, this one is no exception. The usual emotional speeches are kept to a minimum, however, and this sombre mood does little to stir the early afternoon crowd despite this being the last gig before their indefinite hiatus. Opening with ‘Have Mercy’ from their latest album, Get Hurt, the band play with passion befitting the occasion, yet the apathetic crowd seem more interested in their £8 burgers than what’s actually happening onstage. Predictably, the pace seems to pick up a little during fan favourites ‘45’ and ‘Rollin’ and Tumblin’, but the mood remains drab for the rest of the set. The Gaslight Anthem had the potential to make this a send-off with a bang, but a failure to inspire the lacklustre punters all but confirms that the band definitely need a break. 6/10

The Cribs The Cribs arguably give one of the best performances of the Sunday. Playing a selection of hits from their back catalogue such as ‘Another Number’ and ‘Men’s Needs’ they please both new and old school fans. The West Yorkshire trio play songs from their latest album For All My Sisters. ‘Pink Snow’ the last track of both the set and album, is a gorgeous climax. Guitarist Ryan Jarman smashes his guitar before throwing it onto a crowd that fight over its remains. The Cribs, as always, retain an old school vibe but still keep it fresh. 8/10

Glass Animals A definite crowd pleaser of the day are Oxford psychedelic pop outfit, Glass Animals- “Peanut butter vibes”, are shared across the NME/Radio 1 stage all through this Sunday afternoon set. They play tracks from their debut album ZABA, including ‘Black Mambo’ and ‘Gooey’, a slow, gorgeous and groovy ambient track sounding just like its title. Penultimate track is Kanye West cover, ‘Love Lockdown’ that could almost pass off as an original, as Dave Bayley’s unique falsetto vocals and the band’s sound is implemented into the hip-hop track. 8/10

Jamie xx Later voted as one of the best acts of the whole weekend, British producer, Jamie xx (of The XX fame) translated his new record to the stage flawlessly with his authentic vinyl-spinning DJ

technique. Euphoric vibes are ignited straight away with opener ‘Stranger In A Room’, followed by various tracks from his latest album In Colour. The original samples from tracks ‘Good Times (There’s Gonna Be)’ and ‘Louder Places’ seamlessly transition into his own interpretations. A giant disco ball reflects off the lights, appearing as yellow lasers. Jamie xx’s set is in a word impressive, both audibly and visually. 9/10

Little Comets Little Comets bring twee summer vibes to the Festival Republic stage in the evening, their short but sweet setlist compiling tracks from across their various EP’s and albums such as ‘Joanna’ and ‘Little Italy’. The upbeat and positive atmosphere of the tent is undoubtedly the best of the day, and they finish off their set with oldie ‘Dancing Song’, the familiar indie riff getting the whole crowd moving. 9/10

Deadmau5 Take one of the best progressive house producers on the planet, an extravagant lights show, and Orlando Bloom in a shark costume, and you have one of the most exciting progressive house shows in recent history. Deadmau5 closes the NME/ Radio One stage on Sunday, and it’s magnificent. Centre stage Joel Zimmerman is encased in a cage – an insane new stage set up that creates an unparalleled feeling of intimacy. As first track ‘Avaritia’ plays, the cage slowly splits in two to reveal the talent that lies inside. His masked persona seems detached from the crowd, but an incredible setlist of hits and euphoric lighting is all that is needed. Zimmerman plays a number of tracks from his gigantic back catalogue including famous hit ‘Ghosts n Stuff’ and ‘I Said (Michael Woods Remix)’. Inspired by a dark short story, track ‘The Veldt’, has a fascinating setting and whole stage looks like the night sky. An alternative piano intro is eerie and atmospheric. The mood then changes as ‘Strobe’ plays against blue lighting, strobes and a pulsing animation. Penultimate song ‘Seeya’ from latest album While(1<2) sees him step down from the decks with a beer in his hand. He chills on a sofa and dances with a hotdog and OrlandoShark before returning to his pod for a final song. 10/10 Words by Rosalyn Boder and Emily Gunn

FEATURE

THE NEW ROOTS

HOUSE SH WITH ROAM 28

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HOW

s o t o h in p 29

headrush

the makarov scheme

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the makarov scheme

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bowels 33

roam

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FEATURE

New Roots at

BUTSE 36

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ERFEST 37

the xcerts

BOSTON MANOR Right from the very start Boston Manor excite the crowd with all the energy they needed to start the day into their performance. There is never a dull moment within their time filled, as their equally as bouncy music uplifts the crowds’ hands. Playing main stage of the festival was a great achievement for the band at such an early stage in their career, however the five-piece represent their UK scene well. 8/10 SHVPES Perfectly suited for the bill, Birmingham’s metalcore quintet rock up the Crossroads stage as vocalist, Griffin Dickinson leaps over the barrier and drags people to come forward. His immediate confidence and ability to connect with an audience before the band has even started to play is astonishing. Kicking off with high expectations to follow, Shvpes set a high ranking for the following bands to withhold. 8/10 SHIELDS Appearing on stage as ‘alternative Hagrid’, vocalist Joe Edwards soon emerges from his tamed lions mane hair and faces the crowd with a stone cold glare. Don’t be fooled by his small structure, the guy sends out roars of howls that are deeper than most metalcore breakdowns. Setting the mood in perfect sync, his hair bounces along to the shapes he throws. Djent riffs and head banging actions are all taken place within the Shields’ set, from start to finish. A few clean songs whipped the harsh vocals with an even balance, however the band is currently killing it with their heavy breakdown drops and theatrical stage presence. 9/10 THE XCERTS For a three-piece band, rocking the main stage at this year Butserfest didn’t seem unnoticeable or passive. Despite the sun blazing right in the eyes of all three members, they still rocked around the stage, avoiding its glare, in time to their pop-rock music. No doubt everyone was just waiting for that one song, ‘I Don’t Care’ to come on so everyone can shout the chorus back with aggressive screams. Even so, the band managed to sustain a large crowd throughout their whole set, playing a mixture of chilled songs and banging rock anthems. 8/10 ZOAX Where to even begin with Zoax? If you haven’t seen this band live, then you will never understand the hype or pure terror you get, as no one is safe in vocalist Adam Carroll’s eyes. Starting out on stage, the London based five-piece spawn themselves around the stage, moving to every beat. Seeing a large crowd gather in the small tent, Carroll then ventures out to the inflatables and shouts, “GET IN HERE YOU FUCKERS” to their scared little faces. Even if you are not seeing Zoax you will be on their watch. The perfect blend of smooth vocals juxtapose with Carroll’s sharp bark, as he steals your hat, hides under your t-shirt, or simply asks for a chit-chat between melodic breaks. Nothing is ever predicable within their set, as it’s like you are seeing the band for the first time, even if it is your eighth show. Amazing the crowd further, he brings out an acoustic guitar and stars to softly sing ‘Innocent Eyes’ before retuning back to the manic Irish man he is. 10/10

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heck

shields

don broco

LOCK & KEY For a band that gets so much mainstream and undeserved hate, Lock & Key were one of the highlights of the whole festival. Presenting themselves to the crowd who seemed to be very judgemental, the band threw all sorts of shapes while maintaining a strong hardcore influenced tone. With groovy riffs and breakdowns that could easily be mistaken from The Ghost Inside, they slay the stage with the great confidence. Interacting with the crowd and members, vocalist Rich Lardner dips around the stage with a solid

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vocal howl throughout, even finding the time to do a few jumps in time to the other band members. Not exactly understanding this futile hate towards the band, Lock & Key are without a doubt refreshing to see wise, as well as unity talented with the music they make. 8/10 HACKTIVIST With only one solid full-length release, Hacktivist seem to constantly attract such a large audience every time. Following their recent appearance at Hevy festival, the

hybrid of every genre band, slay it once again. â&#x20AC;&#x2DC;Deceive and Defyâ&#x20AC;&#x2122; starts up as the crowd bounces and shouts back each catchy lyric. The band itself is so widely diverse, which really captures the bands sound and how they react perfectly, their performance follows in a similar pattern. J Hurley and Ben Marvin take opposing sides of the stage to conquer, as they reach out and dance to the crowds gaze with their techo, djent music, while bassist Josh Gurner drops to its metalcore riffs. Right on cue, they end their set with their most famous cover, now getting every single mouth involved with the

lyrics as the set ends with hundreds of shouts and cheers. 9/10 HECK Would you even begin to believe how hectic the Crossroad’s stage was, as soon as HECK appears to not only close it down, but also tear every compound up in the process. The band who you will never see fully on stage, reclaim their expected presence as vocalist Jonny Hall makes his way to the barrier, glaring at everyone awkwardly. Those who were

known to HECK’s experience were in for a treat. Matt Reynolds soon joins him, pulling his mic and lead, strangling the audience as he passes by. Diving in and out of peoples view, he finally takes a break and gets a circle of bodies crowding him in a cult like chant. Their truly loud and hard to make out lyrics never seem to end, as HECK’s set never falls into silence. While the remaining two members keep the stage entertained with harsh bangs and brutal riffs, the band are not letting anyone down. Even if you are not a fan of the bands music,

watching them do their own thing, makes up for everything. If loud, angry and in your face music that may make you cry with terror is your thing then HECK will certainly be your cup of tea. 10/10 Words by: Isha Shah

locK & KEY

shvpes

hacktivist

boston manor

interview

thug workout

“IT WAS MEANT AS A BIRTHDAY PRESEN

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don broco

NT FOR MY DAD” - ROB DAMIANI

We caught up with Rob Damiani and Matt Donnelly from Butserfest headliners Don Broco to talk about the festival, Automatic, and the secrets behind ‘Thug Workout’. Don Broco played a bright and sunny Butserfest three years ago, and although today started grey, the rain held back and by the time they arrived, the September day clinged firmly to the end of summer. “It’s such a beautiful place for a festival,” says Damiani, “just driving in when you see the hills and everything, it’s just so nice”. Their set tonight will include several songs from their most recent album, Automatic, a release praised by critics in every corner of the industry. It sees several changes in the band’s sound, including the introduction of more synths than they’ve used before. “When we were writing it, we just had an anything goes policy,” explains Damiani, “we didn’t really have any idea or plan of making any big changes, except for the fact that we didn’t just want to write the same album again. That was the only sort of criteria”. If any song sounded too much like anything that appeared on their last album, they decided not to use it; they wanted something new. “We get bored very easily and we like pushing ourselves as musicians and bringing in new influences,” he continues, “we sort of threw it all in a melting pot and came up with a bunch of songs that kind of ended up just taking a slightly different edge, shifting us away from the old Don Broco.” When they finally released the new album, they set out on an intimate tour, which “came about quite organically,” when they were planning the album release show, describes Damiani. “It’s nice to play a show the day the album comes out specially,” adds Donnelly, “It sort of felt right to do it in our home town, there’s one venue there – the venue we first ever played”. It actually ended up being the night before the album came out, just because of how the dates panned out, but it was a great way to launch their biggest album to date. So what’s next for Don Broco, is there writing in the works? Now that summer is winding down, and Butserfest ends a season of festival performances for the band, they’re going to take a couple of weeks to step back and think about what to happen next. “Literally up until this point everything has been about the album and building towards that, Reading and Leeds, and all of the other festivals,” expands Damiani. “So yeah, we are looking forward to the December tour, that’s the main focus now, and learning

how to actually play the new songs”. A lot of them were written in the studio, meaning that apart from the lead singles that are already at home in their set list, many of the songs haven’t actually been put together in a live scenario. “I’m sure the way things work with us we’ll be in the practice room, get bored while we’re practising and start jamming ideas,” he continues, “that usually starts the basis of new songs”. It’s not something that they’re worried about, with the new album still so fresh, but it still remains at the back of their minds, “if something good comes along, we get the phone out and record it, and then it goes from there”. As much as Don Broco add their newest tracks to their live catalogue, there’s one song it seems they’ll never be able to shake. ‘Thug Workout’ is raw, cringeworthy, and everything their fans love. But most of them would be surprised if they knew who the womaniser is that Damiani sings about. “The song came about as it was meant for a birthday present for my dad, it was his birthday and me and Si wrote a song about him,” he reveals, “the line “sexy girls come up to me, and they always come if you know what I mean” was written about my dad and he loved it”. When they were writing their first EP, Delaney had a riff, Damiani has a melody, and the quick throw away idea became a very real song. “I think the reason it came about in that fashion makes it so off the wall because it’s such a bizarre place for the song to be born from,” he continues. In terms of the video, Donnelly explains that it was all decided the night before. They had no budget, and they wanted to make the video the very next morning, so they had to just use whatever was around them. “We had a handy cam, that was it,” he says, “we sat down and listed to the song line by line and just thought, is there anything we can do with this line? Anything we can do with this line?” They took as professional approach as possible - there was even a storyboard. And so the anthem that is ‘Thug Workout’ was born. You can catch Don Broco on their upcoming tour this December, as well as a warm up show at Bath Moles on the 27th November. Words by Adrianne Goron

interview

zoax Stood behind the Butserfest main stage, the anthemic sound of Funeral For A Friend’s ‘Juneau’ floods through the crisp evening air, as the band perform what will become one of their last ever shows, ahead of their upcoming farewell tour. It is here we meet members of Zoax (previously Hoax, but “corporate litigation is punk,” apparently), the equally charismatic vocalist Adam Carroll, and guitarist, Doug Wotherspoon. It becomes obvious in seconds that this is going to be a fun interview, as they bounce off of one another with such impeccable energy. When asked to introduce themselves, Carroll simply comments on how the microphone looks like his beard on Wotherspoon’s face as he speaks. They describe how incredible it is seeing Funeral For A Friend, “I remember Casually Dressed being a huge influence on me when it came out,” explains Carroll. “But now my whole taste has changed massively. I was super into emo, like, really emo,” he laughs, as My Chemical Romance’s name is inevitably thrown into the conversation. “Their first album, the one before three cheers,” adds Wotherspoon, “I loved that”. He tells the story of his sixteen-year-old self going to the states and being overwhelmed by Hot Topic, “It was my little fringe pilgrimage; it was amazing”. But as people grow, their tastes change, leaving their emo phase behind for a newfound love of none other than Bruce Springsteen. Carroll explains, “It’s like telling you that your dad is suddenly really cool. He’s super old, but I don’t know, it changes. I remember Metallica were huge for me, and then there was New Found Glory, who I still really enjoy today”. He continues with an anecdote about when he bought his first New Found Glory album, asking if we remember The Osbournes, the show documenting the lives of Ozzy and his family. “At the same time as I bought that album, I also got the soundtrack to that TV show, and it was so, so shit,” he laughs. He is outdone however by his band-mate, who expresses a love of his mum’s Silk And Steel CD, a collection of eighties female artists singing power ballads. Zoax have had a busy few months playing shows and festivals, including Carroll’s personal favourite, Download. “We got to play the Pepsi stage, and one of my favourite bands were headlining that night,” he says, “the crowd that turned out for us was super unexpected”. As far as he is concerned, however big the band gets, whatever the show, he always is, and will be there, “jaw to the floor” with the turnout. Wotherspoon’s highlight is Nottingham’s Hit The Deck festival, where security had to turn people away from their set because it was so packed. “We’re just huge music fans,” he states, “to see that happen for our band was nuts. You cant even be blasé about it, it’s a really fucking big deal”. Carroll is known for his incredible stage presence and energetic performances, justifying, “I could

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never not”. The way he acts on stage is the way he feels, in his own words, “I’m playing in front of people who want to listen to the band, it’s brilliant”. He remembers reading magazines such as Kerrang!, Metal Hammer, and Rocksound, and aspiring to be like the artists that graced the pages. “There’s no bigger rush in life than walking out on stage, even if there’s like two people there,” he states, feeling happy when fans approach him after about how memorable the performance was. “There were so many gigs that I used to go to when I was younger, and I’d walk away thinking it was the best thing ever. It could be the smallest thing like the singer grabbing me head when I was at the front going insane,” he smiles, “I’ll always remember those things, so I would really like to do that now for other people”. In terms of artist they would like to play alongside, the list is extensive, and diverse to say the least. Obvious choices such as Alexisonfire, Thrice, and Deftones are thrown around, with Wotherspoon expressing a wish to support Rage Against The Machine, “because Timmy Z is an absolute rudeboy”. Carroll chips in, “I could go off the rails and say Daft Punk, which would be unreal”. “Kendrick would be good,” continues Wotherspoon, “I’d love to support Stormzy. He’s quality”. They also know where they want to go in terms of festivals, setting their sights across the pond. “Warped Tour is what we’d love to do,” they explain, “it’s like the childhood dream”. Wotherspoon laughs, “I would cut some toes off for Warped Tour. The big toe is worth double. I’d do a big toe”. “I would actually shave my beard and cut my fingers off I could play at Wrestlemania,” continues Carroll, “that’s what I want to play”. He laughs at his own insinuation that it’s a little sad, admitting it’s something he’s never grown out of. They continue to explain how main stage Download is every band’s dream, and that just to play Reading and Leeds would be incredible. Who knows, in a years time, with a new album under their belts, there may just be a place for Zoax on these bills. The album, which is currently being written and demoed, promises to be different from the two EPs previously released by the band. Wotherspoon clarifies, “We quite like exploring different genres musically because we’re all into such a diverse array of music”. Similarly to when previously discussing influences earlier influences, or artist to which they’d like to share the stage, the range is broad. Elements of country, electronic, hip hop and rock find themselves manipulating the music Zoax create. “Adam just likes Bruce Springsteen, so he’s trying to work that in there”. He pipes up, “I think when it comes around to the time of doing press for the album, the only thing I can actually say is for everyone to go in there with an open mind”.

The UK scene is currently at one of the strongest points in its history, with an army of up and coming bands injecting their own fresh talent and ideas into an already powerful genre. We wanted to know who Zoax thought we should look out for, and which lesser-known artists they have been recently impressed by. “We played with a band called Fizzy Blood last weekend, they were really, really good,” says Wotherspoon, “And then like two weeks before that, we played with a band called Villains”. One thing Carroll wants to make clear is that they aren’t the type of people to name drop bands simply for the sake of doing so. They could mention a long list of bands, but they want to remain genuine, so if they say they like a band, they really mean it. One band he’s personally really excited for is Creeper. “I think that the whole image that they have, and the lyrical content, the music, everything, it’s just a great, strong package”. He continues, “I love the whole vibe they have, and on top of that, the songs I’ve heard off of that EP that is coming out soon, it’s just phenomenal and I really hope that they get the credit they deserve”. The pair agree that Creeper are a band they would love to tour with, although they joke at the idea that they may all have to dye their hair black to fit in. As well as new bands, Zoax like to shout out their friends, such as Heck (formerly Baby Godzilla), or emphasise more successful bands that don’t receive as much credit as they should. Glasgow’s Fatherson is one that springs to mind for Wotherspoon, “Even though they’re much bigger than us, they’re incredible, and Ross is just an incredible singer”. He explains how he feels it a shame when you see some exceptional bands out there, and for some reason they’re still under the radar. “When you’re touring you see a lot of local bands that are really good,” he continues, “it took a long time for us to get to the level where we were touring to be fucking honest, and all of us were in bands before, with varying levels of success. You see some local bands that wipe the floor with the bands that we were in”. It’s promising to see such talent, and he only hopes that they get noticed by the right people, and are allowed the platform they deserve. To finish, we asked the pair to sum up the band in a few words. “Fun, energetic, exciting, sexy, and really good at football,” lists Carroll. Wotherspoon laughs, “five idiots making rock?” before coming up with his favourite description, “funk as fuck”. “Yeah,” Carroll continues, “we’re Zoax and we’re funk as fuck”. Words by Adrianne Goron

interview

the one hundred Fresh from their set at this years Butserfest, we spoke to The One Hundred vocalist Jacob Field, to talk about his thoughts on the festival, what their upcoming plans are, as well as Babymetal and the political side to their music. It’s the bands first time at the festival, which is only about an hour from the Guildford area, where they are from. “The suns out, there’s a good vibe, good show, the kids seems to enjoy it,” says Fields, “it’s our first time here, it’s pretty fun.” One of the key elements to the festival is that it is alcohol free, something that appeals to Fields, who doesn’t drink. “It means you don’t get any of them annoying drunk people who are like “man, I’ve seen your band, you’re so sick”,” he explains, “like, you don’t even know who my band are, you’ve just said that”. Also, unlike the majority of festivals and gigs we see now, Butserfest is open to all ages. “A lot of the time bands go on tour, and its something we’ve experienced,” he states, “you have to play in clubs or venues that are strictly eighteen plus. There’s people who really want to see you, and there’s nothing you can do about it”. He continues to explain that it isn’t the band’s fault, or the promoter’s fault, it’s simply that sometimes venues have laws and policies that can’t be helped, “so it’s nice to play in front of a wide audience of all ages”. The day also saw a strong set from the band, which was incredibly well received by the crowd. “It’s nice to see people react to it,” smiles Fields, “sometimes you play festivals and people don’t really know who you

are, and they just kind of observe from afar. It’s not a problem, because people enjoy it in different ways. But it’s nice to actually get people involved, up at the front, have a bit of energy”. This isn’t their biggest festival of the summer however by a long shot, as the band played Download on the Friday. “The weather actually did us a favour,” Fields explains, “the rain started to come down about ten minutes before our set. I don’t want to make it sound like we didn’t pull anyone, and I’m not trying to be arrogant either. When it started to rain, I think a few people took shelter, luckily in our tent”. But they didn’t just take shelter, they stayed one the band started playing, whether it was the rain, their music, or a lucky combination of both. They also played Reading and Leeds festivals in August, and although they always worry in case something goes wrong, both shows were a resounding success. As well as playing Download, he also got to meet Babymetal. “They’re so sick,” Fields laughs, “that whole thing of them and the fox god thing. Whether it’s a publicity thing or whatever it is, they’ve nailed it”. He continues, “when I met them I was like “can I have a photo?” and they were like “fox god,” and I was like yeah, bang out, don’t care”. He says that he fully digs the band; it’s a very clever idea that has been put across extremely well. Now that festival season has come to a close, The One Hundred have time to work on their album, which

Fields describes as a “slow burner”. “Most bands either have everything written or nothing written and they go into the studio for two months and flat out do it,” he explains, “We go up there twice a week and go back, listen to it, go back, listen to it. It’s a bit of a long way of doing it, but it works”. The album is basically done and recorded, he says, but that it won’t be out until next year. Lyrically, the band are often compared to the likes of Rage Against The Machine and Enter Shikari, for their heavy political content. “Everyone thinks we’re a political band,” says Fields, “But we’re not”. What he does is write his lyrics in a different way to a lot of other artists doing similar things. “I just put myself in a situation that isn’t me and tell a story,” he continues, laughing at the thought of people commenting on how much he must have been through, “I’m a white middle class boy from Guildford, not Compton”. As for the new year, there is a new album in the works multiple tour, and a wish to play some of the country’s biggest festivals. “Then a little break I think, by that point I’d like to think I’ve earned a break,” he jokes, “a nice couple of days away, then another tour”. If there’s one thing that comes across it’s that The One Hundred love playing shows, and such a strong but fun work ethic is refreshing. Words by Adrianne Goron

Photo by Isha Shah

interview

deference As the sun dips out of sight on a great day at Butserfest, we catch up with Southampton’s Deference, who managed to win themselves a slot on this years lineup. “We got like nine hundred votes,” explains vocalist Rob Lea, “the other band got seven hundred and fifty, so we smashed it”. They were all overwhelmed by how quickly people got behind them, with drummer Mike Hill adding, “It was crazy, the actual response we got from when we started posting it online, so many people started voting for us”. They do laugh however, as they insinuate that the sheer number of votes was likely down to the huge mass of friends Lea has on Facebook. “I just stayed up all night seeing who was online and messaging them like, hey, can you vote for my band?” he says, “But I always put their first name in it, so I put some effort in, like their own personalised spam”. It was all worth it, because they proved they earned their slot with a solid set. “I think it went really well,” says guitarist, Matt Dennison. “I take my glasses off during the set so I can’t see anyway, but I thought it went really well,” apart from the small fact of a few things falling over behind them. “The scrims fell over,” adds Lea, “because you know being in a band costs money and we thought, we’ll build our own scrims, and they fell over”. The only other downside as far

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as the band was concerned, is missing the likes of Hacktivist and Carcer City because they all ended up playing at the same time. It definitely comes across that the band are enjoying the day, and say they “absolutely, definitely” want to come back again next year, with Lea even stating that he’ll break in and play if they can’t. “Who knows, comments Hill, “maybe next year we can be there on the main stage”. If they can get nine hundred people to vote for them simply to play the festival, we’re sure they could have a good go at a petition to get see their name amidst those on the main stage. By then, Deference will have a few more songs under their belts too, as they discuss a six track EP that they plan to work on in January. “ We’ve also got a few weekenders and tours soon,” comments Lea, with Dennison adding, “some of them are still in the works, but some of them have been fully booked up”. The new tours will also see them travel the length of the UK, with a show as far as Glasgow. “We’ve also recorded a new single, so we’re going to shoot a video for that,” continues Dennison, “then we’re also doing a video for another song off the EP as well, and then it’s the new EP”. So it looks like the band has a busy few months ahead of them. When they do as much as they do, they

must spend a considerable amount of time together, so you’d assume they know everything there is to know about one another, right? “I don’t know if we’ve got any secrets from each other,” says Hill, met by a smiling Lea, “I know I do”. They all laugh as they try to think of each other’s secrets. Laughing seems to be one thing this band does more than anything. “I often write some our drum riffs using my teeth,” interjects Dennison, which is met by incredibly bemused looks on the faces of each of his band mates. He explains how he uses his teeth like drums, using the sounds they make to come up with new ideas the band can use. “Is that why we always have to change them?” laughs Hill. His secret is also about drumming. He explains that he never really chose to play drums, it wasn’t something he decided upon, or particularly set out to do. “I literally went through the Yellow Pages and picked an advert that looked good”. Similarly, bassist Shaun Kirtland fell into his instrument at random. “At school, all of my friends wanted to start a band,” he starts, “none of us had a clue how to play anything whatsoever I don’t think anybody really had a clue.” He describes how people snapped up the instruments they wanted, until he was left with bass. “You got stuck with that,” laughs Hill. “Yeah,” Kirtland responds, “for the rest of my life, I’m the bassist”.

The only member left to divulge a secret is the normally bouncy and charismatic vocalist. After giving a few rude and jokey answers to what he does in his private time, his real answer is much more personal than expected. “Because I’m a front man,” he begins, “people assume I’m happy, that everything’s fine, but behind closed doors you never really know what’s going on with a person”. He describes a point in his life where he felt his lowest, at seventeen, when he was diagnosed with anxiety and depression. It seems easy to forget that someone so bouncy, with such a humorous personality, could be struggling just as much as someone who shows it outwardly. The others laugh at the way in which he’s taken the tone right down, but seem supportive at the same time. Obviously everybody has their demons, but Lea hasn’t let these get in the way of what he wants to do, which is great to see. To come across a band with such chemistry is revitalising, and this clearly stems from the strong and interesting personalities reinforcing Deference. We can’t wait to see what happens when they start their new EP in January. Words by Adrianne Goron

ALBUMs parkway drive Ire

4/10

The new record from Australian metalcore band Parkway Drive has been one of the most anticipated of the year, since the release of the song ‘Vice Grip’ showed a fairly big shift in sound, although admittedly not an unexpected one. The decision to add more general heavy metal influences and branch out into a more accessible sound is certainly not one that is uncommon in the metalcore world right now, with several of the genre’s biggest bands making similar changes on their latest releases. Ire is fairly consistent in the way that it only seems to express one feeling from beginning to end: the sort of entirely fabricated anger and sense of artificial energy that makes you really want to punch someone in the fucking throat for about fifteen minutes, before your brain realises that the music shows no signs of changing tone and decides to stop pumping floods of adrenaline around your system before it kills you. For all the attention it demands with its vicious opening songs, it ends up kicking and screaming impotently in the corner like a child without an ice-cream by about the fifth track. And that’s about it, really, until you get the odd twenty seconds of relief in the form of a generic intro sample. If you’re a fan of the slicker side of modern metalcore, Ire will no doubt be very enjoyable for you. Every riff is so thick and punchy and layered

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with melodic hooks and lead lines that it manages to stay catchy and infectious without sacrificing too much heaviness, with the majority of the vocals harsh screams and growls. Album opener ‘Destroyer’ and lead single ‘Vice Grip’ hammer through with straight up heavy-metal riffs (the latter evoking bands like Scorpions and Accept) albeit adorned with definitively modern production and vocals. ‘Dying To Believe’ takes a more grooveoriented route with one of the heaviest breakdowns on the record. Is it loaded with sing-along crowd moments? Of course. Are there enough heavy pitworthy sections? Plenty. Does it have enough lyrical anger to last an entire adolescence? You fucking bet.

perhaps brings the band’s melodic and emotive side out the most, with almost Blind Guardian-esq folky riffs and acoustic guitars included throughout the song - but once again the gruff vocals over the quiet sections sound too overstated to take seriously. Winston McColl’s performance is something of a double-edged sword: his growls and screams are generally fantastic, but several songs are nearly ruined by failed attempts to experiment with semispoken word or semi-growling passages. The lyrics, besides a handful of cliché abominations are mainly passable, but the constant generalised fury and selfempowerment doesn’t really offer up anything that metal bands haven’t been re-hashing for decades.

It’s from here that the cracks in the album begin to show. ‘Crushed’ and ‘Writings on the Wall’ attempt to shift the tone of the record to something darker and slower, but both songs (especially the latter, with its awkward sounding juxtaposition of aggressive vocals and dull sluggish riffs) end up just sounding boring with neither really having enough creativity or believability behind them to match up to the dramatic lyrics and vocals. ‘Bottom Feeder’ and ‘The Sound of Violence’ et al. simply add to the pile of pitready metalcore songs that do nothing to stand out from the rest of pack, and by this point the band’s somewhat generic formula is beginning to wear incredibly thin. Album closer ‘A Deathless Song’

After about five songs of any record of this nature it’s common for one to need to listen to something gloriously un-catchy and badly produced to feel a little less like they have a man in a vest telling them to jump up and down and go fucking crazy. There are only a few songs on this record that don’t immediately trigger that instinct - and those offer little else in terms of emotion or interest. It’s not outwardly bad as such, but for an album that explodes with so much antagonism and cut-throat intensity early on, it ultimately fails to back up it’s on bravado and ends up feeling like just one more generic metal album. Words by Joe Gilbertson

singles unconditional arms

best years

Fever Basin

Drop Out EP

8/10 After endless months waiting for new music after the debut EP Footwork, the Manchester quintet Best Years finally delivered - like the latest postmen ever - with Drop Out. But that can all be forgiven, because the three track EP will take you on a pop punk rollercoaster of emotions. It’s like they have all become psychiatrists with this EP, as they start off with loss, the opening track ‘Built To Last’ displays that classic sad side of pop punk; we can all relate to when losing someone from our lives. Dry those tears, as now we hit into the anger as lead single ‘Overrated’ punches through with the chorus

spitting the lyrics, “you’re everything that no one wants to grow up to be.” Best Years bring it back with a positive vibe, as the nostalgia of ‘Back Then’ shows the good guys reflecting on times spent hanging out with friends and all the crazy stuff they’d get up too– a real anthem for you and your pals to shout to. Drop Out really set and acts expect in

is that pinnacle EP that have Best Years off like a firework, as a benchmark of what to the future from these boys.

There’s something very pleasing about the five members who make up Unconditional Arms. Their soft ambient indie tracks are known to be emotive music, easily described as nothing less than beautiful. ‘Fever Basin’ takes their talent to a whole new level, with it’s soft delicate intro that does take years to build, however when it does its worth the wait. The crashing of the symbols resembles waves hitting the rocks before the guitars sweep in with a tranquil melody. The journey is so cleverly structured as the song closes with a subtle exit that retains your temperature. Words by: Isha Shah

nudes

Our Headache Years

Words by Billy Young

devereux More Time Than We Knew

9/10

Three shouty boys make up the punky Nudes from London. A track taken from their debut record, it’s filled with just the right about of upbeat bounciness that could be the theme song of your summer, but not overdoing it as it draws a close to the festive weather. Light touches of punk create a feel good song that seems a little dated in the greatest way possible. The vocal does not separate itself from the track, which most post-punk bands seem to constantly do, not knowing their mistake. Instead they take the softer approach knowing what compliments their sound. Words by: Isha Shah

nothing but thieves The London based quintets debut EP is worlds away from the hardcore sounds of band members Duncan Ash’s and Jack Robinson’s other projects, Northpaw and Lay It On The Line. It’s also very different to Ash’s other band, pop punk group Actions. The opening of first track ‘Social Side Of Surviving’ leads you to believe it’s going to be a straight forward alternative metal song. However, it quickly erupts into a grungy Incubus style masterpiece. The slow tempo of the track and soaring vocals, give it a very melodic and peaceful feel. The rest of the More Time Than We Knew follows very much the same path, having a very grunge vibe to it. The fast-paced drums at the beginning of ‘Collision Path’ seemed inspired by the bands hardcore influence,

but the song soon softens into a more emo sound. ‘Heavy Eyed Hope’ is very 90s grunge for the most part, but then presents you with slices of alternative rock in the form of intricate riffs and heavy drums. Both musically and vocally, this track is very reminiscent of post-grunge band, Three Doors Down. Despite only being three tracks long, Devereux have managed to show their diversity with More Time Than We Knew. They’ve proven not just their diversity as a band, but also individually, with the various members drawing inspiration from their various genre backgrounds. Devereux have created a modern grunge EP with just the right amount of alternative rock and emo thrown into the mix. Words by Chloe Rose Eaton

Wake Up Call

Something a little more commercial, yet still full of funky blasts and powerful howls, Nothing But Thieves bang out another new track that certainty will give you a wake up call. Muse influenced, the track is highly addictive with it’s memorable chorus taking the dominance of the song. Throughout, the band has filled this solid song with groovy bass lines and head banging feels that you can’t shake away. With a short twist found within the bridge, it alters the bands outcome as the song goes out with a literally bang of the pacing drumbeats. Words by: Isha Shah

ALBUMs ever My Conscience Is Asleep

8/10

No matter how little or new a band is, there is always hidden talent amongst one of their short EPs. Ever happen to be one of these bands. Emerging from Stoke-on-Trent this year, the four piece are already banging out a solid five track EP My Conscience Is Asleep. With such little knowledge, the band are very secretive with their music, only releasing one track off the EP, ‘95’. Easily the one song that grabs your immediate attention, its fast pacing beats and grungy vocals grab a hold of your senses. Ever’s influences of Superheaven and Adventures are highly apparent within this track, as the British quartet blast powerful noises. Opening track ‘Rainer’ and ‘Cellar Door’ could easily be mistaken for Title Fight’s own. Mixing up their newly developed sound from the likes from Shed. Fans of the neighbouring genres will do well to recognise Ever’s fusion of sounds for their first release. Some may say it’s just like everything else and lacks originality, however it is refreshing to hear a newly sprouted UK band produce a sound that goes far beyond expectations. Although there is a repetitive element to the EP, Ever do their best to fill any gaps with great interludes of guitar build-ups and swaying riffs that create high-tension comedowns. For their first release the band have shown their varied style and ability to produce something that doesn’t make you want to give up on the scene. Words by Isha Shah

THE WEEKND Beauty Behind The Madness

7/10

shit present Self-Titled EP

8/10 Shit Present are somewhat of an underground UK (pop) punk supergroup, featuring members who can list Great Cynics, Gnarwolves and The Smith Street Band on their respective CVs. As is often the case with supergroups, Shit Present hone the best elements from other projects and blend them together to create a powerful punk cocktail on their debut EP. Shit Present is an EP that every teenager needs and every person over eighteen should wish they had when they were growing up. A perfect crossover of genuine punk with catchy pop hooks, the first two tracks ‘Anxious Type’ and ‘Kick Me’ provide an excellent transition in to this genre. It almost works like a “my first punk record”. This EP was originally a solo project for Iona Cairns and that really shines through on ‘Melbourne’, a far more laid-back track that starts as an acoustic number. Cairns’ vocals are at their best on here, she maintains the raw punk authenticity but conveys much more emotion than on other songs. The final two tracks are filled with plenty of angst and have a more typical punk sound but are still so accessible to those who wouldn’t usually listen to the genre or those new to punk. ‘Evaporate’s chorus features the line “I wish you’d fucking go away” which is a lyric we all could have done with putting in our MSN screen names at one point or another. Overall, Shit Present’s debut is so strong it makes you question whether it would be worth Cairns et al taking this venture on full time. Words by Natalie Webb

Canadian singer-songwriter Abel Tesfaye strays even further away from his mixtape days and R&B influences and has moved to a far more commercial sound with his latest record. This isn’t to say however that his lyrical content hasn’t drastically changed, still delving with themes of depression, drugs and various sexual exploits. The opening track ‘Real Life’ is a powerful anthem glimpse into the warnings his mother gave him about his success and fame. It’s a refreshing departure from t he story telling aspects of previous releases, and focuses more on Tesfaye’s mistakes throughout his career with sincere reflection. The guest spots on the tracks for ‘Dark Times’ with Lana Del Ray and ‘Prisoner ‘with Ed Sheeran accompany incredibly well with Tesfaye’s lines, even if the song writing seems a little self-indulgent at times and doesn’t bring anything particularly unique to the table. While fans of his old material may be turned off by the more mainstream sensibilities presented on this record, there’s still plenty of melancholy but undoubtedly catchy parts, such as the falsetto bridge section in ‘The Hills’, as well as the piano riff on ‘Losers’. The almost disco-esque single ‘Can’t Feel My Face’ compares being in love to overdosing on cocaine, and the trope of comparing drugs to emotions is a cliché, but it’s so irresistibly hard not to sing along when Tesfave unashamedly rips off Michael Jackson with the vocal delivery. While certain tracks like ‘Tell All Your Friends’ and ‘Often’ are pretty underwhelming, and the concept of excess being unfulfilling isn’t exactly the most original of ideas, Tesfave still manages to be just as down to earth and convincing as ever with this release. Words by Ashwin Bhandari

Photo by Isha Shah

BRing me the horizon That's The Spirit

3/10

It’s often all too easy to forget that Bring Me The Horizon are generally considered a “good band” nowadays, at least for those who grew out of the band at roughly the same time that they left behind the scenecore sound of their first two records to flirt with mainstream popularity. With their recent discography they’ve built up quite a lot of hype, although often through simply sampling more impressive sounding music over their fairly bland metalcore. With their latest release - their most commercial to date - and their recent promotion to an arena-level band, it seems safe to call this the first from the fully realised “new Bring Me The Horizon” who seem poised to conquer the world. Despite what many people would have you believe, That’s the Spirit isn’t so much a radical change of direction for the band as it is a slight acceleration down the path they’ve been headed for quite some time. The heavy metalcore breakdowns have been completely smoothed over, as have Oli Syke’s bellowing screams but for most of the record the guitars seem to be running on autopilot, hitting open power-chords at every chorus and chugging through simplistic metal riffs, albeit utterly domesticated ones. ‘Doomed’ continues Bring Me The Horizon’s tradition of opening albums with fairly

soft electronic songs established with Sempiternal’s ‘Can You Feel My Heart?’. Like that track, ‘Doomed’ also features some of the most affecting parts of the album with its slow, sluggish chorus, but the band’s decision to sand down any remaining conceivable rough edges to their music takes what should feel like a huge emotional climax and waters it down until to something disappointingly unmoving. From that point on, the record settles into a solid run of tracks that seem to have the sole mission of throwing as many hooks as they can at you in the hope a few of them catch on. ‘Happy Song’ has some of the heavier riffs and aggressive vocals sitting atop cheerleader chants, ‘Throne’ is almost pure Linkin Park worship with its catchy electronic lead line. The comparisons between this album Linkin Park are almost as cliché as the vague lyrics about being thrown to the wolves, treading on thin ice and kicks to the teeth that dominate it but they’re shockingly accurate: much of it feels like Hybrid Theory 2K15. The layers of epic strings on ‘True Friends’ are every bit as punchy and catchy as those on ‘It Never Ends’ from their third album, but once again the band betray their own talents with bland guitar playing and laughable lyrics. Unfortunately the clichés come as thick and fast as the hooks on

a few too many of these songs, to the point where it’s hard to imagine just what sort of person can get a genuine emotional reaction from any of them. It’s only on the tracks where they drop their thick guitars altogether for an all-out indie poprock sound (‘Follow You’ and ‘Oh No’) that the atmosphere seems to vary from the monotony underlying through the rest of the record. It’s also on these songs that the catchy pop synths and vocals feel like they have a purpose besides being smothered over the band’s sound like a lubricant to help thrust their music into the mainstream a little more easily. The saxophone solo in ‘Oh No’ may not be as ground breaking as some people are making out, but it fucking works, and leads to one of the few moments where the band can successfully revel in their own songwriting abilities without being weighed down with generic rock guitar riffs and angsty teenage lyrics. While many fans may not enjoy the unashamedly commercial aspect to this album, given the quality of these two songs, Bring Me The Horizon could probably make a far better pop group than the semi-metal band they’ve been awkwardly dressing up as for the past decade. Words by Joe Gilbertson

ALBUMs

Photo by Isha Shah

being as an ocean Self-Titled

8/10

Only a year and a fraction ahead, it is not surprising that Being as an Ocean’s self titled release is a step forward rather than away from How We Both Wondrously Perish (2014). Defining an album with your own name risks inviting a dangerous onslaught of high expectations from critics and fans alike. With starry summits that dazzle at heights above these, the journey this Californian quintet guide us on is like a valley which then dips into an empty void during fragmented instrumental play, falling short of such expectations and what Being as an Ocean are clearly capable of. Jewel tracks, ‘Ain’t Nobody Perfect’, ‘S.t Peter’, ‘Forgetting is Forgiving the I’ and ‘Little Richie’ save the album however from falling into the glossed over experimental post-hardcore abyss.

compassion are demonstrated in how they apply to real world problems. Raw emotions from the heart give listeners lyrics to relate to amongst ‘Judas, Our Brother’ and ‘Sleeping Sicarii’s religious debates.

beauty also resounds in the closing anthemic hymn, ’...And Their Consequence’ as the gentle melody fades out over strings, piano and a choir, showcasing new heights of compositional talent for the band.

‘Ain’t Nobody Perfect’, is possibly one of the bands’ most stellar creations, and consequently the highlight of the album. It plays with imperfect sound using electronic samples and remixing, illustrating Joel Quartuccio’s lyrical point creatively, while moving on to heavier breakdowns retaining the darker and unique style the group are cherished for. With eye opening ideas, uplifting guitar riffs, storytelling scripture, and spoken word woven throughout, each moment embedded in the songs is captivating.

Gripping and convincing, Being as an Ocean’s most recent production is more gritty, realistic and less optimistic than both Dear G-d and How We Both Wondrously Perish. The interwoven pinpricks of light filter hope through the darkness though, making the delicate beauty of songs such as ‘Judas, Our Brother’ and ‘Ain’t Nobody Perfect’ more pronounced.

Intricacy and experimentation also provide light and variation from the more grimy aspects of hardcore dominating the current scene, and the deep religious debates and dark topics of abuse and betrayal depicted on the album. Christian themes and values prevail but do not alienate audiences as these messages of love conquering all and the importance of forgiveness, acceptance, and

Michael McGough as also featured on the band’s second album, offering vocals which are warm, mellow, intimate and instantly likeable. Reminiscent of Hands Like Houses, the band have unravelled a lighter, softer spin on melodic hardcore, especially potent in the vocal melodies and hooks of ‘Forgetting is Forgiving the I’ and the soft opening lines of ‘Judas, Our Brother’. Haunting ghostly

Where the balance has been found, and in its individual songs, Being as an Ocean blossoms a very fragrant unique collection of captivating post-hardcore music but definitely falls loose between these and leaves lingering hope for listeners wanting more from the established group. Words by Arriana Corr

beach weather What A Drag

9/10

In the cold depths of September, summer is certainly over. It’s goodbye to the little sunshine we had, instead a big hello to scarves, parkas, and a beanie hat or two. Yet, the indie-pop four piece Beach Weather are determined to put the sunshine back into your life with their debut release, What A Drag. Nick Santino’s crooning vocals are some that many may be familiar with already– once dedicating his talents to the pop-rock group A Rocket To The Moon (RIP, we’re still not entirely over it), Santino’s refined his voice to a smooth, polished finish. His impeccable range melts like butter in your mouth, spreading that warm summer glow across your skin as the synths sway through your soul. ‘Wolf’ gently opens the EP, leading delicately into ‘New Skin’ that has those peppy Tom Petty vibes laced through. Santino’s hushed vocals within the verses provide a wonderful contrast to the upbeat, feelgood chorus that’ll keep your body moving to its catchy rhythm. Whilst lyrically simple, or complicated stories with Santino’s sultry – keep you hooked,

What A Drag doesn’t need endless metaphors to draw in attention. Punchy one-liners mixed tones – especially in the seductive ‘Swoon’ even a little hot under the collar at times.

Beach Weather stay true to their name throughout, offering a sound that replicates those familiar summer feelings. ‘Rebel Sun’ is the perfect finish– providing more synth than its predecessors, the heavily romantic verses will capture the heart before the chorus line “Rebel, you’re the sun never burning away”, softly repeats itself to a faded close. It’ll be interesting to see what else can come from Beach Weather, whether this will remain their style or if perhaps they’ll experiment with new sounds, but either way, they’re just on the beginning of a journey that could take them to high places. Words by Harriet Stanley

dearist This House Has No Windows

8/10

From such a new band comes such big sounds. The Wolverhampton fivepiece, Dearist are bringing a full album of noises that we had almost had forgotten about. Growing up when stepping stone bands such as You Me At Six, Deaf Havana, We Are The Ocean and Young Guns, were all the hype and closely in the scene. However this community has seemed to be whipped out altogether, with the help of Dearist reminding us of these nostalgic feelings, as well as adding a very modern twist of their own. It’s no surprise that Close To Home Records released such a vibrant album, This House Has No Windows, is shaded within the opening track ‘Genocide’. Constantly repeated, it’s the most memorable strains of vocals that you hear throughout. Followed by a single the band released, ‘Fix’ is yet again another addictive chorus track that gets you singing along to each outbreak. The band has a heavy melodic filling to each song that seems to wrap around the vocals, giving both an even balance of sound. Not too heavy, yet not too soft, they create an ideal mix of sung vocals that appears attacking and sharp. Much like a Sheffield melodic collective, Elegies, ‘Leecher’ replicates similar sounds, reinforcing this new wave of sound that seems to be all over new bands. If diversity is your pet hate then Dearist wont cause you any more pain, as the album flows with a mixture of themes that make you feel fulfilled. ‘Something Unreal’ and ‘Blemish’ being two tracks that are delicately soft and whisper based. You may even think you’ve heard them in an episode of The O.C, they deliver the right amount of emotion and tension filled build-ups. What’s really exciting about Dearist is they are not like any current UK band, who all produce the same thing. They bring back a sense of nostalgia but also make it obvious that they trademark this music. Words by Isha Shah

ALBUMs the wytches Thunder Lizard Reprieve

9/10

Blistering and screaming off of the back of their debut album in 2014, The Wytches are back with a 4-song collection of atmospheric, visceral postpunk by the name of Thunder Lizards Reprieve. The EP pulls no punches, opening with ‘Wasteybois’; capturing the bands live raw power, doomsday riffs, and lead vocalist Kristian Bell’s raspy vocals, the opening half of the song is unrelenting. Creating such a noise from a three piece adds to the impressiveness of this opening track, and as the nonstop violence calms to a laid back, effect driven conclusion, the tone for the EP is truly set. ‘Gettin’ Lucky’ has the task of following the powerful opener. Instead of rivaling the pace, it begins with a minimalist feel. Creating almost a carnival atmosphere with the inclusion of an organ and decapitated vocals, we’re tricked into letting our guard down as the relative calm is shattered by a piercing guitar riff. These crunching, distorted melodies are what The Wytches do so well. The appropriately names ‘DADFAC#’ is proof that the instrumentation of the band alone is enough to drive a track, with Bell’s vocals not making an appearance. Rather, a radio broadcast drones quietly over the top of some seriously haunting riffs. Never quite following the notes you think it might, the ending of the track is an amalgamation of noise and ultraviolence, which will no doubt see a crazy live performance. Ending the EP, ‘If Not For Money’ is a departure from the distortion. Think laid back lounge music, with the appropriate amount of chilling vocals to really send Thunder Lizards Reprieve off in the right way. Continuing from the prowess of Annabel Dream Reader, this collection of songs demonstrates the bands live sound and energy, while expanding on their musical range. Wordsy by Jack Hounsell

eight days

Surrounded By The Ones Who Want Me To Fail

8/10

The heavy sounds of melodic hardcore band Eight Days arrived in 2014 with the release of their first EP No Idols. Off the back of this debut, the band have set the standards high for their follow up release; Surrounded By The Ones Who Want Me To Fail. The opener is a powerhouse of riffs from guitarist Ben Brazier, and his raw angry vocals are reminiscent of Frank Carter. Going by the name of ‘Unclear’, the song violently switches between hardcore gang vocals and intense build ups, to breakdowns that are reminiscent of Code Orange. You can tell this is a track that will absolutely go off live. ‘No Time, No Patience’ is the second track on the release. Brazier’s vocals are given the spotlight in the cleaner parts of this track, and this is where the band really shine. There’s emotion and power in his voice, and the layering of vocals is impressive. The whole song has great production quality, and this lends itself to amplifying the bands energy. The final track is a demo, ‘Sell Down’, recorded by the band. While not sounding quite as polished as the rest of the EP, this track stands as a promising vision that proves Eight Days have a lot to say for themselves. While their bassist has parted ways since the recording of this EP, Surrounded By The Ones Who Hate Me is a well-produced, angry-as-hell statement by the remaining members that they’re very much here to stay. Words by Jack Hounsell

Photo by Isha Shah

defeater Abandones

9/10

Concept album masterminds, Defeater continue their ongoing saga, with a heavy religious spin. Following on where the band left off in 2013 with Letters Home, 5th full-length, Abandoned follows a priest first introduced to the fictional New Jersey family and to audiences on the melodic hardcore group’s classic debut, Travels (2008). Like all too many of us, after too many unanswered prayers, and seeing humanity fall to ruins during the Second World War, the priest who “was a good man once” loses faith in both himself and God - now “hopeless and abandoned”. Illustrated with these lyrics early in the second song of the album, ‘Unanswered’, frenetic and fast paced, Defeater leave no time to wonder what their message is about.

experience. Defeater push this concept to its furthest cradled by lulling melodic guitar riffs which intersect wonderfully with frantic pounding drums and almost-reminiscent-of-early Bring Me The Horizon guitar shredding, during more bitter tracks, ‘December 1943’ and ‘Penance’. Whether intrigued and gripped to follow the twists and turns of the fictional story, or tangled up in it by connections to occurrences in your own life and experience; Defeater give you plenty of reasons to listen to Abandoned.

Opening and closing tracks, (‘Contrition’ and ‘Vice & Regret’) see vocalist Derek Archambault lace the album’s content and themes together with screams of, “unanswered, abandoned.” Empathetically, these desperate cries carry enough force and conviction to drag you through hell and envision his character’s torment and struggles.

‘Borrowed & Blue’, mid-album sees Defeater crescendo into the height of their strengths as a creative collective, streaming serendipitous undertones of post-rock into this heartfelt hardcore ballad. Midway, ‘Borrowed & Blue’ like the stained glass window framing the artwork for Abandoned, breaks and shatters brightly, showering listeners in jagged fragments of colour and light. Achambault’s gravelly vocals soar over the rough current to offer a hand and something to hold onto in dark times.

For someone who used to instill and encourage faith and hope in others to lose that very faith, is an utterly painful, but unfortunately common

Given its dark subject matter, Abandoned is surprisingly uplifting. Strewn amongst the onslaught of bands trying to re-create the classic hardcore

sound, Defeater simply rolls on sonically nothing short of perfection. Painting a picture drawing from historical, religious and personal areas of thought and back, so much can be gained listening to Abandoned. Eye opening, Defeater enable us to take a look inside ourselves and at the world around us in ways we may never have chanced upon otherwise. To fully enjoy the depths of the compelling tale and engage yourself on the level Defeater wrote this at may require a bit of research. But take from it what you will; there is plenty to be learned from Defeater, and this album alone is no exception. Words by Arriana Corr

Live

hardout

obstruct

world wea

insist

survival

ary

cognitive dissonance all dayer Tooting, London 13/09/15 8/10 Today is an exciting day for those who are into hardcore, from all across the country some of the best bands in the scene gather here to put on one of the most exciting lineups of the year held at beloved venue, The Tooting Tram & Social. Due to lineup changes, last minute additions Overturn would be opening today’s event and the five piece hardcore band - representing Southampton’s own hardcore scene “UYC” - deliver a pleasing performance, setting the tone for today. Following is another band from respected scene UYC, Realm Of Torment, changing the pace with a early 2000’s metalcore sound and despite the odd mistake, their set is still enjoyable. Hardout now take to the stage next and the Eastbourne straight edge outfit get the crowd excited, from side to side people begin to throw their fists in the air, chanting along to their catchy lyrics, Hardout display incredible energy and show they have passion in what they preach. Now for one of Essex’s finest acts, Splitknuckle, who demonstrate incredible talent as they blend complex guitar work and chugging riffs, there’s also a certain pleasure in hearing the “SKC” echo throughout the tram. It’s now Londoners Rough Hands turn, and quite honestly it’s hard to make a generalisation about the genre of music they play but there’s for sure an influence of hardcore; nonetheless, Rough Hands are indeed fresh and interesting with their sound adding more diversity to today’s lineup. Hailing from Manchester is Insist and the 90’s youth crew inspired band waste no time in kicking off things with short, fast and intense songs, the room begins to move side to side and chaos ensues. It is an absolute delight watching a band receive such a warm reception, especially one that delivers such a strong performance. Due to changes in the time schedule, headliners and one of the most popular bands in the UK Hardcore scene, Manchester Straight edge heavy weights Survival. Despite their earlier set, they still play

as if they were headliners with a good percentage of the room piling up on the stage, screaming and finger pointing, so much the so the stage itself begins to crack and break ever so slightly. Survival’s vocalist points that every band today is from the UK, stating, “The UK scene is the strongest it’s ever been” and how blessed we are to not have to wait for international bands to be excited for shows. One last band before the break and it’s Obstruct, whose style of late 80’s hardcore punk sends the room into a frenzy– from side to side, audience members begin to run into each other. People jump onto the already fragile stage, jumping on each others heads and aggressively waving their limbs to the songs that last no longer than two minutes. It’s with this that Obstruct capture a charming punk element. Now finishing their set, everyone begins to leave the venue for a short break. Returning from the break, there’s time to catch Blind Authority who kick things off with the intro from their new record, Succumb To Violence. Without a doubt one of the most aggressive and hardest sounding bands playing today, the crowd seems to match the atmosphere they bring. It’s hard to find a point where the floor is completely empty, making it a total of twenty minutes of pure mayhem, keeping their stay short but ever so brilliant. Now for the climax, set to originally be the first band after the break, London’s own World Weary are now headlining and for the first time today, security can be seen gathering to protect the now fragile stage. With lyrics being screamed back at them and the mic being passed around, World Weary put excitement into the members of the audience and do an exceptional job as last minute headliners. Closing with ‘Head Check’, a pile on ensues as everyone involved tries to sing along to it’s catchy chorus, World Weary close what was an already amazing day and make it even better. By James Bannister

Photos by Isha Shah

Live the wombats Guildhall, Southampton 30/09/15 7/10 With just one special support act to excite the crowd, Sundra Karma appear on Southampton’s Guildhalls stage, darkly lit with just their sharp features highlighted. The four figures then slowly start to sway around the stage while a very soft guitar intro sets in. Giving off a very chilled atmosphere, Sundra Karma makes an instant connection with the crowd. A band that don’t really need to be known, they generate a feel good riffs and soft vocals that are easily balanced. ‘Vivienne’ and ‘Loveblood’ highlight their performance as they rock around the stage with the high-energy blast given off by their melodic music. A perfect support for The Wombats, who soon join the stage, greeted by echoed cheers from a very young crowd. Cleverly the band begin their set with three tacks from each album, ‘Give Me A Try’, ‘Jump Into The Fog’ and ‘Moving To New York’. Tactically the three members create such a fuss that everyone’s mouths are now following lead vocalist Matthew Murphy’s. Beginning with such a great impact, the band then slow things down with some lesser known tracks off their previous records. Ironically ‘1996’ sets in and the majority of the crowd who were probably born in the 2000’s begin to recite each lyric. Christmas may have come early, but The Wombats certainly came five years too late. For such a nostalgic band that played a curial role in your pre-teen days, seeing them live doesn’t quite give you that satisfaction of being a child again. With a relatively strong set-list, they play their treasured favourites, ‘Tokyo’, ‘Techno Fan’ and ‘Pink Lemonade’ which certainty gets the crowd racing. “This song is about my mother, she’s not a pole dancer… yet, but who knows what happens behind close doors,” Murphy declares right before ‘Patricia the Stripper’ begins. Although there isn’t much communication with the crowd and band, the atmosphere doesn’t dip or lose its high school disco feel as the night progresses. Doing an encore is so cliché, instead of chanting “we want more” or something just as cringey, the crowd start to sing the lyrics “and we’re so happy, so happy!” from ‘Let’s Dance To Joy Diversion’ until the band return back on stage. It doesn’t just stop there, The Wombats are full of surprises, unlike their predictable encore song choice, they blast out a massive Rage Against The Machine cover of ‘Killing in the Name’ with electronic strobes of guitar riffs and hectic drum battles. They end the night with explosive sounds that vibrate around the room with one final scream. Words by: Isha Shah

Photos by Isha Shah

Live

s o t o h p in

moose blood + creeper, muskets Circus, Bournemouth 04/09/15

muskets

creeper Photos by Elliot McRae

Live

ithaca

scared of everything

palm reader + Scared Of everything, ithaca

Surya, London 08/09/15 6/10 Tonight at the Surya, some of the loudest bands in the UK will gather to create some spectacular noise in one of London’s most popular venues. Today marks the last day of tour for headliners Palm Reader, who over the years have built a fairly large following in the UK. Opening the show tonight would be Portsmouth skramz act Scared Of Everything, the band wastes no time in making their presence known as their vocalist takes to the floor, getting up close and personal with members of the audience. Scared Of Everything play with passion, whether it’s songs full of aggression such as ‘I Love My Dog More Than You’ to soft melodic songs like ‘Space Pilot 3000’. Filling the stage now is Ithica from South London who’s mathematic riffs and soft melodies sound as if they could be from two different bands, but somehow Ithica manage to blend them together seemingly. Along with their complex riffs Ithica also somehow manage to jump around without missing a beat, along with their vocalist whose incredible screams echoes throughout the room. Ithica seem to do everything a band

should and making them stand out tonight, even setting a high bar for the the headliners. The room is now becoming crowded as Palm Reader’s bassist takes to the floor, the sound of feedback begins to fill the room as the the band begin to create pleasing noise with their style of mathcore, that of which can be likened somewhat to a band like Every Time I Die, but the audience seems to be a little timid, taking their time to get involved with Palm Reader. While Palm Reader put on an excellent show, it feels this set is lacking something– this band deserves more chaos surrounding them especially in an intimate venue like this - but despite it all, Palm Reader perform with full energy, eventually pulling the audience in. It feels as if Ithica slightly outshined Palm Reader as the highlight of tonight, but with that being said, Palm Reader still put on a entertaining set which seemed to please those involved. Words by James Bannister

Photos by Ryan Dalton Rodrigues

Live

s o t o h p in

the Kenneths The Old Blue Last, London 29/09/15

Photos by Chiara Ceccaioni

Live truth be told

grains

reminitions

Photos by Jonathan Bell

the colour line Vintage Rockbar 25/09/15 7/10 Truth Be Told are first to take to the stage, the five piece metalcore band from Sheffield jump straight into their set with some powerful original songs. As the short set progressed with vocalist Harry Radley on the floor, the crowd become more enthusiastic about the band, but with very short sets it proved hard for any of the bands to truly get the crowd fully involved. Next to set up and follow Truth Be Told’s strong set are Remenitions. Immediately the band tried to get the crowd moving and dancing, which, sadly, seemed to intimidate some of the small crowd, but the band powered through, with very strong, confident vocals tying the songs together. As they progressed to their final song the energy the band was putting into their set was paying off with the crowd enjoying the bands riffs and their passion. When it was time for Fourth Gate to start, they kicked off with a heavy opener and followed their first song with another crowd pleaser, although the crowd were not impressed with Joe Granger (vocals) attempting to start mosh pits to their second song by attacking members of the audience. The band introduced their next track as ‘Pins and Needles’, a song witch was full of energy, heavy breakdowns and fast paced guitar, which set the scene well for the next band, Grains. Grains are next up, the four piece from Doncaster seemingly glad to be playing in their hometown at Vintage Rockbar, the band are straight in with the crowd and are very willing to throw all their energy into their show. “I want to see you all bounce like tigger!’” comes Sam Beardly’s voice over the sound of their fast paced riffs and this leads to the audience responding more to the music than they had all night. As the set progressed and various member of the band began to hang from the rafters, we thought that the band had given almost everything they had. Until the band hauled the drum kit into the middle of the mosh pit, with band members and people in the audience alike smashing symbols and crawling on the bass drum the band put on a fantastic show, one that would be remembered and one that got the crowd ready for the headliner. Whilst The Colour Line got ready to take on Vintage, all the pervious bands were part of the crowd and when The Colour Line took to the stage, with the group being so full of energy, it was hard for the audience to not get involved with the charismatic vocalist (Sam Rudderforth) as he crawled on every inch of the floor and scaled the walls. With the band not only blowing the crowd away with their music, they also got them laughing with their inappropriate innuendo demanding that the crowd gather round, as Rudderforth screamed to “let me penetrate your personal space!” The stage presence of the four piece made them stand out a mile, never mind their slightly odd set, with a Michael Jackson impersonator taking to the stage mid-way through the set to give us his rendition of ‘Man In The Mirror.’ Although the band made a full recovery from the disturbance, and blasted the crowd with a few more anthems, some kissing and some stage dives. With a snapped guitar string and many handshakes, the band left the room, seemingly exhausted but leaving a pleased, slightly more roughed up crowd behind them. Words by Natasha Groom

Live

holy pinto

free throw + holy pinto, jaded Portsmouth 07/09/15 9/10 jaded

All the way from Nashville, Tennessee, Free Throw will be headlining one of their first in a long run of European shows in a small pub in Portsmouth after a venue change a few days before. Tonight has a strong line-up of some of the UK’s best and upcoming acts and a stage barely off the ground, making this an incredibly intimate show, setting this up to be a night to remember. First up tonight, Pale Cheeks, a young emo band from London who recently released their first EP, with a mixture of clean and grungy vocal styles along with distorted guitar tones that are reminiscent of bands like Basement and older Title Fight. All wrapped up with a well-performed knapsack cover, Pale Cheeks prove to be solid opener for tonight event. Next up is be Birmingham based emo-punks Jaded. Their set-list is a collection of songs with lyrics with hooks and well strung together instrumentals, but their set seems to lack energy so while their songs are enjoyable and well performed, the lack of movement dampens their presence slightly. Following, Holy Pinto, the fun loving indie emo band from Canterbury, who usually play as a duo but tonight are accompanied by a third. As sad as their music can be, Holy Pinto have a way about them that just brings a smile, whether it’s catchy guitar parts or just their drummer wearing a lizard mask, It’s hard not to love Holy Pinto - proving they are talented as both musicians and performers. Water Canvas take to the tiny stage next as main support, setting up their pedal boards, the already small space begins to close in. Their sound captures the sound of late early 00’s emo, resembling bands in their earlier years such as Brand New and Say Anything. It doesn’t take long for members of the audience to get involved; Water Canvas are an incredibly engaging band it’s clear to see by the reaction of the crowd that they are very much loved. Now, the final act of tonight, Free Throw, the emo five piece who just love to have fun and reference Pokémon. The room seems to become a mixture of sweat and alcohol not five minutes into their set, within in the tiny local pub chaos ensues as bodies fly over one another, and laughs are had as much loved songs such as ‘Slam With The Best Or Jam Like The Rest’, ‘Pallet Town’ and “Two Beers In”. But despite not taking themselves very seriously, Free Throw are incredibly talented an dedicated to what they do, along with being very humble and somehow despite being incredibly drunk, they manage to pull off an amazing set and night. Words by James Bannister

Photos by Elliot McRae

Live Gnarwolves The Welly Club, Hull 11/09/15 9/10 A fantastic display of grimy, punk rock British trios, the band Gnarwolves headlining with two other bands Broadbay and Woahnows played exceptionally at The Welly Club. The small venue was perfect for this kind of music with its raised dance floor and easy to climb on stage. The supporting bands were well suited for the Gnarwolves crowd, playing several up beat songs that are easy to chant, jump and point aggressively to. Such memorable songs include ‘Plasticine Dream’ by Broadbay and ‘Sounds Like Spitting’ by Woahnows, which seemed to please the crowd as the two long-haired singers rocked out on stage. After the support bands had finished and the members of Gnarwolves had finished chatting to the fans at the merch table, the boys took to the stage and got the crowd going insane with their first song, ‘Smoking Kills’. The show was how you would expect a band like Gnarwolves to be: loud skater punk music with a great crowd jumping and pointing, in almost the perfect venue. Other songs they played included ‘History Is A Bunk’, ‘Bottle-To-Bottle’ and ending brilliantly with ‘Limerence’. The overall quality of the music was very good, all three of the bands sound almost exactly like they do on their albums - which is obviously a good thing. As well as there being no technical difficulties or delays. One small criticism was that there was not a large turnout of people, even though the small crowd was quite good there were only around sixty people there with twenty to thirty fans jumping around at the front while the rest stood back and watched the show. Overall, the show was very well put together, relaxed (especially with the band members hanging around near the bar or at the merch table) and a great way to spend a Friday night. Words by James Parkinson

Photos by Jonathan Bell

Live

Photo by Isha Shah

inme + dorje Islington Academy, London 18/09/15 8/10 The show has an explosive start from the boys of Dorje, who really take to the stage and immediately mean business. Melodic and upbeat riffs demonstrated by Rabea Massad complimented by technical and solid drum beats of Ben Minal means these guys don’t let up one tiny bit. The funky, slapstyle bass sounds of Dave Hollingworth really cut through the mix and has hands and heads bobbing everywhere. The vocals of frontman, Rob Chapman, don’t get off to an amazing start, however, they soon pick up at the start of the second song in their set list, ‘Aeromancy’. Throughout the show, they really manage to showcase each of their incredible talents as musicians and although they are vastly different to InMe in style, they certainly gain a good reaction.

Stage presence is certainly not an issue for them and they maintain an aggressive, hard-hitting energy throughout with ever-changing time signatures that keep people on their toes. During the intermission between the two artists, the venue starts to fill up and begins buzzing with excited chatter whilst people eagerly awaiting alternative rock band, InMe to take the stage. The four piece from Essex play their final show in their Overgrown Butterfly tour. Keeping the crowd pumping and energized whilst playing through their first two albums, Overgrown Eden and White Butterfly in their entirety. As soon as they walk on, the building is roaring and InMe come straight in with Dave Machphearson’s heaven shattering vocals.

After such an incredible start, it’s hard to believe the band are performing a set which just keeps improving song after song, delivering riffs so catchy, they could hook a blue whale, the energy and presence are relentless! Delivering a mix of songs from both albums, they have the crowd so lively and fixated, singing and hanging onto every lyric, InMe really bring everything they have to the table, thriving in the live environment, songs flowing perfectly into one another. They don’t leave anything to the imagination and ensure the crowd have no energy before the end of an overall, outstanding show. Words by Jon Pickard

Live hildamay Birthdays, London 19/09/15 8/10 Taking place in the basement of the small venue, Birthdays, shows the return of former hardcore band Hildamay. Although they may have split up over 2 years ago, there is still a large audience waiting to hear the new material for the album, and to once again see them tear up a new stage. Upcoming grunge band, Muskets jump up first and give it their all throughout the show, not for one moment standing still, as if the ground was red-hot. Almost reminiscent of grunge champions, Nirvana, Muskets show they are manic on the stage with distorted sounding guitars and hard-hitting drum sounds filling the room. Undeniably, a band to look for in the next coming years. The mood is high as Muskets leave the stage, and Rock band, Attention Thieves are quick to hop up next. Having performed with such acts as Mallory Knox and Marmozets, Attention Thieves are no strangers to putting on a good show. Vocalist, Alex Green captivates the audience immediately as they go into full flow in their set. With bouncy rhythms alongside pop-rock styled hooks, Attention Thieves keep the good mood throughout, the audience pumping up for the headliner of the night. A quiet eeriness fills the venue as frontman, Tim Lawrence steps on the stage for the first time in two years, a wide smile filling his face. Kicking into action, Hildamay don’t hesitate to get involved with the audience, Lawrence high-fiving the fans trying to reach the front. Going through their entire discography from old material to their new album, Muscle Memory, released that day. The crowd is in constant flux, jumping around in time to the hardcore grooves and rhythms. It’s as if they hadn’t been away for the past couple of years. Hildamay still control the audience, swaying in time to the music and singing alongside the band who, regardless of the fact that Lawrence was the singer, can’t help but sing along to the songs that they had clearly missed in the hiatus of the band. Beaming smiles are on everyone’s faces by the end of the show and one thing was taken away from the performance. Hildamay are back. Words by Charlie Hill

Live larkhill

homebound

best years

Photos by Isha Shah

wstr + best years, homebound, laRKHILL

The Garage, London 10/09/15 7/10 The garage in Islington is that small venue to come down to and shed a few stone in sweat. A place where all small and underground pop punk and emo bands love or crave playing, so when the ‘Hi There’ tour stopped off for a visit, we knew we were in for a treat. Up first are London sad punx, Larkhill. The three piece sway their way through a sleazy, gritty and emotional set. Packed with shout outs to stoners and fuck ups, Larkhill know how to dominate a stage and their instruments, with everyone in the crowd nodding along. After Surrey quintet, Homebound, have all just about managed to all squeeze onto the stage, they smash through the sweetest tunes in underground pop punk, with short track ‘Valour’, opening their debut EP Coming of Age. Getting the finger pointers out of hibernation, and new single ‘Worthwhile’ going down a treat with everyone in The Garage. Homebound remain tight and utter a great stage presence, despite microphone complications and vocalist Charlie Boughton posi jumping into all the members in the band like a drunk gymnast, their set still rules. High off the release of their second EP, Drop Out (and let’s be honest, high off something else too…) the northern quintet started with a bang with a new track. ‘Built to Last’ blares through the speakers; “first stage diver and best stage diver gets a free shirt,” declares vocalist Joel Plews. The swinging pop punk hooks of new single ‘Overrated’ and old gem, ‘I’m Leaving’ are too good not to stage dive to, free shirt or not! Even a Good Charlotte cover of ‘The Anthem’ won’t shake their uplifting stage presence, as they have everyone throwing the lyrics back at Best Years as if it were their own song. The five piece finish with first ever single, ‘The Last Year Got The Better Of Me’, but Best Years really are getting the best out of this year. Liverpool pop punkers, Waster (WSTR), have come a long way in a short space of time and you may wonder how. Go and see them live and you’ll find out, as inflatables and footballs fly around the venue, and at one point getting one kicked in my face (cheers, Sammy.) While the five piece bounce on stage to big tracks off of their debut EP, SKRWD, like ‘Ain’t Great’ and the feel good pop punk jam for you and your friend’s, ‘Fair Weather’. To finish off a great night, WSTR roll out the red carpet for their first ever single, ‘Graveyard Shift’, to walk down. It may have to catch some stage divers though, as the whole Garage is buzzing from front to back. Words by: Billy Young

Live

brand new Alexandra Palace, London 11/08/15 9/10 It’s been six years since Brand New released their last album, Daisy, but they are still selling out venues all over the world. It’s an amazing achievement for any band to be able to almost sell out huge venues such as Alexandra Palace at the peak of their career, but Brand New are able to do it effortlessly over a decade into it. Singer and frontman Jesse Lacey starts off the set with a beautiful rendition of ‘Socco Amaretto Lime’. His voice and presence hush the crowd into a stunned and captivated silence, showing how much of an influence this band has on a crowd of nearly 10,000 people. Manipulating the lyrics at the end to a bittersweet “I’m just jealous ‘cause you’re young and in love” shows just how far they’ve come from their beginnings of writing songs in basements, something that Lacey talks about to the crowd later on. Although Brand New are not ones for being particularly vocal during shows, Lacey thanks the crowd for being there. His gratitude is felt throughout the room as he dedicates songs to The Xcerts, Dinosaur Pile Up and support act Basement for making the band feel at home so far away from their own. Every song is welcomed by the crowd like a long lost friend. ‘Vices’, ‘Gasoline’ and ‘The Archers Bows Have Broken’ send the crowd into frenzy. However, the mood dips into a slump of sadness as ‘Degausser’ is played, quickly followed by ‘Limousine’, which ends with Lacey singing a haunting acapella of the background vocals. This is followed by a new, unreleased song ‘Sealed to Me’, which is dedicated to Lacey’s wife, and topped off with every twenty-somethings emo anthem: ‘Jesus Christ’. For a band that’s been around and active for so long, they’ve been playing the same songs for more than a couple of years now, so they tend to be more experimental; adding long intros, outros and instrumentals. This can be said for the intense closing song ‘You Won’t Know’, which the band stretch out into a barrage of noise and vibrations that radiate around the packed out venue. Lacey inaudibly screams drown the mic as guitarist Vincent Accardi thrashes around on stage. It would have been the perfect ending to the show if they hadn’t had dragged it on for so long. Words by Emily Gunn

Photo by Isha Shah

gigs Monday

Tuesday

Wednesday

Thurs 1

15 rafd

acoustic hou @ Portsmouth

pianos become the teeth

fairview + coloured in @ Southampton

+ milk teeth + hindsights ON TOUR

27 daylight +dirt @ Surya London

sday

use show

Friday 2

Saturday

Sunday

3 state champs 4 + knuckle puck + roam @ Kingston Hippodrome

no devotion in store @ Banquet Records Kingston

counterparts + senses fail + capsize ON TOUR 9th - 17th

ON TOUR 4th - 9th

rat boy + zibra + Vitamin @ Joiners Southampton

11 counting days

rafd house show #5 @ Portsmouth

muskets + waco + his & hers + larkhill @ Quadrant Brighton

arcane roots in store @ Banquet Records Kingston

northlane

my last serenade

+ birdskulls + rough hands @ The Scream Lounge

18 vans warped tour

+ counting days + rough hands + up river + employed to serve @ South Sea

creeper halloween show @ The Joiners Southampton

bring me the horizon

@ Guildhall Southampton

Photo by Isha Shah