PLUGGED IN Issue 11 by Darren Warner

THE INDEPENDENT VOICE FOR MUSIC IN WALES

Issue 11

JAM WITH ROBINA Dark Recollections

PLUS Nothing New Catrina Southall Supergene The Bluetones Cerys Matthews The Wanted Toy Horses The Blackout Funeral For A Friend

LIVE PICTURE SPECIAL Manic Street Preachers Ocean Colour Scene My Chemical Romance Martyn Joseph Jean-Michel Jarre

Launch Issue Inside

RAWR

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Contents editorial@pluggedinmagazine.co.uk www.pluggedinmagazine.co.uk

ELCOME to yet another jampacked issue of PLUGGED IN magazine in which we showcase the creative talents of all the young people we have been working with over the past few months. Throughout the pages of this magazine you will see studio and live photography of bands that were taken by young photographers as part of the Performance Photography course which DW has been running. Alongside that you can read the interviews and live reviews written by budding writers having been coached by both of us. And on top of that you will find a brand new magazine in the centre of this one, which is filled with work produced by youngsters after working with this Editor on some very special writing projects. Aside from that we highlight the wealth of musical talent we have here in Wales, by featuring some of the best and newest artists to keep an eye out for — whether in our main features, Rising Talent section or CD reviews pages. We have also introduced another element to the magazine in our new ...And Introducing feature, which will bring some much-deserved attention to other people of interest working in the music industry. So get in touch if you fit into any of the above categories!

Gail & Darren We would like to thank RCT CBC’s Services For Young People for their generous support of this issue

Music News

Rising Talent

12 Jam With RoBina 14 Catrina Southall 15 Nothing New 16 Supergene 18 ...And Introducing 19 Quick Chat 20 Live Reviews 21 My Chemical Romance 22 Ocean Colour Scene 26 Manic Street Preachers 28 Jean-Michel Jarre 30 Martyn Joseph 32 Die Fleidermaus 40 CD Reviews

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PLUGGED IN

MANAGING EDITOR & PUBLISHER Gail Griffiths CREATIVE DIRECTOR & CHIEF PHOTOGRAPHER Darren Warner CONTRIBUTORS Adam Perkins, Alesha Williams, Ashley Evans, Bethan Turner, Charley John, Chloe Bezant, Cissy Dalladay, Clive Barda, Corey-Leigh John, Craig Thomas, Dan Wood, Darian Rees-Lewis, Ella Challenger, Ellie Woodruff, Gary Bolsom, James Wilcox, Jamie Bowen, Jamie-Louise Howells, Liam Jones, Louise Delaitre, Martyn David, McKenzy Renval-Valiquette, Neil Collins, Rhys Milsom, Richie Samuel, Rob Jones, Robyn Kennedy, Romano Marenghi, Sarah Blow, Seanna Fatkin, Stephen Bees, Sophie Robinson, Sophie Williams & Stephen Lewis

PLUGGED IN magazine is a not-for-profit social enterprise, run by unpaid volunteers. Printed in Wales on recycled paper using vegetable inks.

On Air

On 12th February 2011 we were offered the chance to trade our everyday college life to walk around in the shoes of an interviewer at the South Wales New Music Forum, an organisation with the aim of empowering people between the ages of 14-25 years old that have an interest in a music industry career. The event held discussion forums with professional industry people, such as Charlie Francis, Stef Loukes and Neil Cocker, to give attendants the opportunity to get the answers they all wanted to know about working in the music industry. We had been set the job of capturing the day’s events and snippets of the major speakers’ thoughts and opinions. Shortly after arriving at the venue we were introduced to a bubbly, outgoing guy by the name of Darren Warner, Creative Director & Chief Photographer for PLUGGED IN magazine. A few minutes after briefly speaking to him we had decided that he was going to be our first victim to be put in front of the mic. Little did we know what we had let ourselves in for! We had aimed for each interview to last around five minutes each, however after a good 20-minute chat while setting up and a further 10-minute interview we were still engrossed in what his seemingly motorized mouth had to say. This guy is seriously interesting and he totally removed any nerves that we previously had! Next in front of the mic was Neil Cocker. The founder and Director of DizzyJam.com, a revolutionary new way for independent artists to promote their sound via T-shirt merchandise. This brilliant concept allows artists to upload a logo or image that represents their band or group with no initial start-up costs, plus they get a cut of all sales made. Sounds like a pretty good deal to us. Neil explained how the current economical state of the music industry meant that the sale of actual music was only a fraction of how artists make money. The real way of making a decent income for themselves was through merchandising and ticket sales. Another highly interesting guy with a lot to learn from. “I’ve learned so much and today has really helped me understand a lot more about the music industry. ” A quote from an interviewee, Jay who agreed with us. Lunch time had finally arrived, but there was no stopping us now. We were out, still on the search for more people to talk to and we found a real treasure. Rachel Thomas a student from Treorchy almost jumped up when asked if she would like to have a short interview about the day so far. What started as a regular interview soon took a rapid change after Rachel revealed that she was in a band called The Sweet Manics. On the spot, asked to sing live whilst we recorded her, Rachel began to sing a short piece from the song her band had written called Bring Me Down. She didn’t disappoint — she was brilliant. (When we showed the tape back in the studio, everyone was amazed.) Definitely a voice and a face to look for in the future — Sweet Manics can be found at myspace.com/sweetmanics The day was wrapped up with all five speakers in an open debate question and answer session, talking about various topics that are affecting the music industry from global issues, such as copyright and downloading to the very local issues involving the lack of recognition for the musical talent in South Wales. An absolutely brilliant day filled to the brim with the best information and advice possible. Every person we spoke to had all good things to say and felt a lot more in the know of what to do next. The South Wales New Music Forum Talks seems to have been a big success and will hopefully only get better and bigger with time. It also gave us the chance to grow from the production side of the music industry as we had the chance to get the know-how that you just can’t teach in any classroom. A day we won’t be forgetting any time soon. JAMIE BOWEN & SOPHIE WILLIAMS Photo: DAN WOOD

In the centre of this issue is the first RAWR (dinosaur for “hello”) magazine, an exciting new educational project that highlights the creative writing talents of young people in Rhondda Cynon Taff. Over the last few months, PLUGGED IN’s Managing Editor Gail Griffiths has been delivering Creative Writing workshops to groups of young people in various learning environments, to help them develop and explore their creative writing skills and raise literacy levels. The participants were encouraged to have a go at writing poetry, character profiles and short stories, inspiring interviews, film reviews and more. The weekly writing sessions were aimed at youngsters aged 11-16, and structured in such a way that they made education fun. From the outset it was clear that the formula was working as pupils were prolific in their poetry writing after just one session! At the end of the teaching period one of the many comments from the participants was: “Thanks for making poetry fun. We had a whale of a time writing in rhyme!” RAWR magazine will have its own section on the WICID.tv website, with any work produced by the students that didn’t make it into the published magazine being uploaded onto the site — simply go to www.wicid.tv and click on the RAWR logo.

After a successful album launch for Dark Recollections (available from Spillers Records in Cardiff and downloadable from iTunes, Amazon and Play), Jam With RoBina are currently busy lining up future shows and have two confirmed so far. First up, they are supporting the brilliant Amy Wadge in Bristol on 31st March, then a live performance on GTFM Radio’s New Music Showcase on 11th April. Check out their website and www.myspace.com/jamwithrobina for more info. And it seems Dark Recollections has gained intergalactic interest, Mark & Ro told us: “He mentioned something about buying it for his son, but not sure what he meant...” Kyshera have released their latest song as a free download. Know Your Enemy is based lyrically around the recession, bail outs and expenses scandal and is a straight kind of rocker that James wrote in an hour, recorded in an afternoon and just threw straight up online for everyone to share. “The reason we’re giving it away for free is that I felt it was in keeping with the message of the song — it would feel a bit hypocritical writing a song about the greedy, money grabbing banks that have ripped us all off and then charging people to listen to it, ha ha!” It can be found by going to www.myspace. com/kyshera and clicking on the big banner at the top of the page.

Motorpoint, better known for its sponsorship of British superbikes, cycling and rugby union teams, has taken over the naming rights for the Cardiff International Arena for the next five years. The car supermarket giant has made a six-figure investment to rename the internationally-renowned venue the ‘Motorpoint Arena’ from the 1st March 2011. The 7,500 capacity arena, which was officially opened by the Queen in 1993, has played host to most of the world’s biggest acts ever since Welsh legend Dame Shirley Bassey took to the stage on its opening night. Millions of fans have passed through the arena, owned by Live Nation, over its 12 year history and now the naming rights agreement will not only see a total re-branding of the building but also includes the Motorpoint logo appearing on all concert promotion, together with a new name for the venue’s website: www.motorpointarenacardiff.co.uk

Now in its third year, the Performance & Band Photography Course that PLUGGED IN’s very own Chief Photographer Darren Warner runs in association with RCT Cultural Services took on a new twist. This year’s six lucky students — Chloe Bezant, McKenzy Renval-Valiquette, Seanna Fatkin, Darian Rees-Lewis, Sophie Robinson and Ashley Evans — not only had to collate a portfolio of live performance photographic images, but spent over three days in a series of studio workshop sessions where they had to learn about lighting, posing their subjects and photographing a number of groups and artists for the pages of this magazine. You can see the results in the Rising Talent section, and on the interview pages with Jam With Robina, Nothing New and Catrina Southall (who spent most of the session bouncing around the studio thoroughly enjoying the students’ enthusiasm for her girly poses!). Of course there were still some live performances to cover too, including Good Charlotte, You Me At Six and Ocean Colour Scene, as well as the brilliant new live gig events at Treorchy’s Parc & Dare Theatre entitled Sweatbox, where the students had access to the photographers’ pit and a lighting system comparable to a much larger venue. Check out pages 34-39 to see a selection of the young participants’ live work. This year the course was also accredited — certified courses always looks good on your CV — and the age restriction of above 16 was lowered to 14, which opened the opportunity to a wider age range of potential students. The structured course of professional tuition endeavours to give the students experience of life as a music photographer, covering not only the photography angle but live review writing as well as interviewing the Rising Talent bands so that the young participants get the full photo-journalist experience. Though their cameras may not quite be of the high standard that a professional like our Darren would be used to, the main aspect of the photographic tuition is on composition and capturing that ‘Decisive Moment’ which classic photographer Henri Cartier-Bresson spoke about. The success of these young novices is now accessible for all to see because of PLUGGED IN. Budding photographers should keep an eye out for the next course, planned for Autumn 2011.

And talking about workshops, look out for Martyn Joseph’s latest CD Broken Peace, with music touching on the history of the Tonypandy Riots, it is a collaboration with the students of Tonypandy Community College and YG Cymer (see page 30 for more on the story). The booklet was produced by PLUGGED IN’s Darren Warner with some students as part of the whole Broken Peace project. “It seemed right, Martyn and Andrew Griffiths (Musical Director) were working with the students on the musical side, so I thought that the ethos of collaboration should extend into the artwork and photography. The booklet comprises of photographs of Andrew’s recording sessions in the schools, Martyn with the students, old photographs provided by the RCT Libraries’ archive and the front cover photograph of the miner’s statue in Tonypandy taken by Martyn himself. The idea was to combine the old with the new, rather than looking like a time past calender — and it worked perfectly. It’s considering these aspects of working together that will inspire young people to aspire. Having the opportunity to do something tangible and assured will always lead to a positive outcome,” says Darren. The Broken Peace CD is available via iTunes, MatynJoseph. com or all RCT Theatres.

PLUGGED IN

Tom Richards

You may recognise this cheeky chappy from off the telly — yes, he was lucky enough to get through to the ‘judges houses’ stage of X-Factor last year, flying to Australia to sing to Dannii Minogue in a house on the top of a cliff with stunning views. Now who wouldn’t want to grab a chance like that? Though he didn’t make it any further, Tom is still pursuing his dream of a career in the music industry and is gigging as much as possible. He’s also writing his own music now and is really enjoying exploring that side of his creative talent. “I have a wide range of influences, from Robbie Williams, George Michael, Elton John and Queen and am really working at writing my own stuff. It’ll be amazing to perform one of my own songs.” The experience of going through the audition process for a TV show was one Tom is grateful for, as he believes you have to grab every opportunity that comes your way. “I learned a lot from that whole process and it made me stronger as a person. I don’t think anyone should turn down any opportunity to perform that is offered to them. You just have to give it a go” PLUGGED IN

Cowbois Rhos Botwnnog

Native North Walians and brothers Aled, Dafydd and Iwan formed the band in 2005 and have recently released their latest album Dyddiau Du, Dyddiau Gwyn entirely in Welsh. There’s something comforting in the knowledge that Cowbois Rhos Botwnnog hail from a tiny village amid the rolling countryside of the Llyn Peninsula — Rhos Botwnnog Commons in north-west Wales to be exact. Playing a mixture of country, folk and rock that was influenced by their parents’ Neil Young and Gram Parsons records and the old Welsh folk songs they grew up with, they have produced a sound so independent and different to the music being made by a lot of other new groups at present. 2008 saw the band release the Paid â Deud single with Welsh singer-songwriter Gwyneth Glyn, a reworking of an old Welsh folk song recorded in the local tavern, and featuring local pedalsteel guitar player Euron Jones. The band continued to play live shows and work on material for a new LP. In 2009 Llyr Pari joined as an additional guitarist to help with new material and the same year saw them playing on the main stage at the Wakestock festival. PLUGGED IN

Captain Fantastic & His Three Funky Beans

This intriguingly named Rhondda Valley’s quartet is a hidden gem. A mixture of blues, funk and rock ’n’ roll are cooked up in a saucepan of musical delight, served with an eccentric mix of humour and emotion. Brothers Tal (drums) and Alun (guitar) started playing together at school, inducted younger brother Aeddan (bass) and finally a Captain was picked to help lead the Beans to victory — his real name is James (vox/ guitar). Three years down the line the boys are enjoying a journey that’s taken them around the UK: “If one person goes away it’s an excuse to go and play a gig in that place and not put things on hold. It’s been fun for us and good experience and we’ve got all the time in the world.” The four-piece are proud of the work they’ve produced so far, showcased with debut album Anachronarchaic. “We’ve got music that we like and wanted to record. We saved up the cash to record a full-length piece of work that we are proud of and wanted to get out there. We’ve always felt more at home with the classic bands and rock ’n’ roll than perhaps what passes for modern rock nowadays. We consciously try not to sound like what is going on now, but we don’t want to be a throwback. But this is our first record together, so it’s what came out naturally.” Captain Fantastic & His Three Funky Beans are well funky, and well worth checking out. Expect lots of gigs this year for the opportunity. ADAM PERKINS

Amerette

This is one of this years’ groups to be taken under the wing of RCT Cultural Services Make It music video project. These girls and one lucky guy hail from the Rhondda Valleys and say they were “formed in a cupboard in a school music class.” This rock-pop quartet told us: “We’ve got quite a lot of Good Charlotte in our music, but to be truthful we are mainly influenced by the brilliant Welsh bands like LostProphets and Stereophonics who all come from round this way.” After explaining that they are proud of the fact that much of their set is their own material, the girls start picking on the one male member of the band, Tom. “He is very destructive, breaking a string at every gig so far, and he’s even blown up an amp!” So what kind of audience do they think they appeal to? “Not sure exactly, anyone who likes music. Saying that, at one gig a complete stranger did turn up wearing exactly the same man-kini as Borat!” CHLOE BEZANT & SEANNA FATKIN

Echoes Of The Dead

Groups come and groups go but one thing is a true fact of life and that’s good musicians never die, they reform. And that’s exactly what has happen with Porth-based Echoes Of The Dead. Rarely would we big up a group that have been going for such a short time, but when that band has been formed from the ashes of the brilliant Dead Against The Rest with a new front man then of course they are worth shouting about. Playing a mix of mild metal with hints of classic southern rock they describe themselves as “awesome, like sexual chocolate.” The humour that came through on their previous incarnation has still been carried through — go check them out! SOPHIE ROBINSON

Electric Furnace

With the band citing influences like Anthrax, Metallica, Judas Priest, Alice In Chains and Pantera and also having the name Electric Furnace you’ll not win any points as to the type of music these three guys produce. But when you look at their pedigree forming from the ashes of two defunct Cardiff bands, First Among Equals and Donde Stars then you know that they’ll be a cut above the rest. Describing the music as “classic metal and hard rock primarily influenced by 1980’s heavy metal” that means riffs, hooks, insane drumming and guitar solos! “We wanted to put together a band with no pretensions geared towards classic metal and rock with an emphasis on the songs and live performance rather than the image.” Recently finalists in a Metal Hammer magazine poll where bands were hand-picked by the metal band Evile to support them on a UK tour, they have also received national airplay from Radio 1 on the BBC Introducing show which they “hope will help to spread our wings further across the UK.” We review their ep on page 41. PLUGGED IN

Clay Statues Power! Power! Power! That pretty much sums up the gruesome twosome from Aberdare that are Clay Statues. Take a whole load of the stuff, mix in some testosterone and blend with some drums and some bass guitar. Leave to brood for a while and you get face full of mesmerising tunes. You can have your cake and eat it because if you don’t Clay Statues will force it down. Doz and Doz or Dorian Holmes (bass) and Adkins (drums) make up Clay Statues, an explosive punk/ dance duo who really like to funk it up. Droids has a great bounce to it as the fast drumming and funky basslines meld together into a great rock song with plenty of twists and turns as both pieces play their part. Paramedic is not so fast, but just as cool. It’s a quirky tune with a dancy beat and great melody. It’s amazing what can be done with just two instruments and a load of gaffa tape! Dual vocals in chorus make a harmonic match with the groove of the song, and ends with a pompous bounce and scary screaming. Paramedic is a cracking live tune. The

Statues’ style is very DIY. It’s got that punk ethos written all over it. And as a live band it’s all so much more intense. Louder, faster, heavier, and leaving you gasping for breath. But in its totality it’s a very fresh disco rock. Adkins: “Doz brings in bass riffs and we sculpt them into something that suits our sound. I’ve got a fast disco playing style, so our music works out to be a fit between the two ideas. But there is only so far we can go with a bass and drums, so we’re trying to incorporate more effects and samples to make each track different and interesting. And it’s exciting.” They are at their distorted best with What’s Orange And Looks Good On Hippies? Cleaner drums meets heavily distorted and supersonic bass, and dual vocals are on the menu for the grooving I Was The Guns Of Navarro, which sees dancing drums and distorted bass move into a great piece of melodic rock before the close of play. By the way, Cake is a five-second explosion — possibly the shortest song you might ever hear! ADAM PERKINS

We Are The Afterglow

WATA are a four-piece rock band from Cardiff, and brain-child of frontman Andy K. Reflecting their band’s name, this is rock music with soul. Elements of heavy rock are brought to earth through melody and harmony born from a sound of the blues. Bomb is a cracking piece of music, elegantly fusing elements of blues with balladic rock whilst Andy’s vocals hit the spot, dancing with the melody, and all ending in a fine crescendo of distorted guitar solo. Formed in 2007, and changing members at the rate of knots, the current line-up has been in place for a year, with Jools (guitar) being the most recent addition. Dan (bass) and the wild-haired Spence (drums) complete the quartet. WATA offer something different, appealing to those from both the rock and the blues frames of mind, and with stability in their line-up have started to gain musical focus. “We’ve had a big turn around in members, but since Jools came in we’ve got much heavier. We’ve got quite a lot of blues influences, although we’re mainly influenced by heavy rock bands like Biffy Clyro and QOTSA. We are generally a very loud rock band.” Darker Side Of Me is a pulsating rock song — fast and heavy with gritty and grungy bass and guitars, yet still holding up some bluesy undertones in the heat of the heavy rock. Closing Down races along whilst the guitars glide around with great audacity. In comparison, harmony and technicality shine in 15 Plus 1, a track which showcases Andy K’s song writing abilities. It’s a beautifully crafted track. And floating along with bounce, vigour and rhythm, New Dawn Of The Purple Mushroom Cloud encapsulates a melodic train of thought. “Andy writes most songs, then the rest of us sprinkle fairy dust over the top. But Jools has brought a lot of new influences to the band and adds to the song writing.” With everything being much bigger and heavier live, there is a lot to like about WATA, and they are finally ready to record something that reflects where they truly are musically. “We’ve been gigging a lot, anywhere and everywhere, but we’ve finally got down to recording an EP, which is well overdue.” Expect something good this summer! ADAM PERKINS

Mr Huw

One of the finest musicians to come out of North Wales in recent times, with quirky electronics fuzzing over vibrant riffs and a fantastic pop-rock sound, Mr Huw’s music offers so much. More risen talent than rising talent, Mr Huw scooped ‘Album of the Year’ and ‘Live Session of the Year’ at the BBC Radio Cymru C2’s Rock & Pop Awards 2010 with second album Hud A Llefrith. And with third effort, Dirty North Walians/ Gogleddwyr Budur, Mr Huw brings his unique pop-rock sounds to the English speaking world through a bi-lingual album full of charm, charisma and bouncy sounds that get your head bouncing, feet tapping and lips smiling. “I didn’t go out of my way to record a bi-lingual album, it just happened that way. Although I’ve written English material for other bands I’ve been in, all my releases under the name Mr Huw have been in Welsh, so for this project it’s something new. I try to keep things fresh for myself and try out different things, and all my albums sound different so maybe the bi-lingual thing was one of those things of freshness.” Amusingly named opening track Departure Track starts with a bouncing bass, providing a vibrant riff as guitars provide harmonies, building towards a rocking chorus, and the impressive Pawb di Trio (Everyone’s Trying) is a wonderful song. A bouncing pop riff is complemented by cool electronic sounds and keys. It’s an affluent and imaginative pop song, with lots of vivacious tenacity. “Some have called my subject matters weird, sick, perverted — which I find really funny. I prefer to call it honest. I look at everyday things in a slightly odd-slanted way.” Y Lleisiau is full of surprises, showcasing Mr Huw’s song writing ability. Happy guitars and vocals are perfectly harmonic, whilst electronic keys get the fun started to a wonderful selection of cool and quirky instrumental sounds, such as cowbells, shakers and fuzzed guitars, that are introduced to the foray, adding that touch of Mr Huw’s imaginative authenticity as the track continues with its delightful pop tones. This is Mr Huw’s imagination gone crazy, and you can see that he lets it run wild in the studio. Seen performing live solo, and with the full band experience, the man also known as Huw Owen offers his boundary-challenged music up to different experiences, and it’s well worth getting some action! ADAM PERKINS

Falling With Style

Forming after a three-day rock school in their local area of Pontypridd, the original three-piece of Ben, Thom and Ryan were in need of a rhythm guitarist and lead singer. So Lucas and Scott stepped into this five-piece alternative indie punk outfit who really say it’s too early to give their music a real style at this stage of their career. Though with influences ranging from Rage Against The Machine via Biffy Clyro to the Red Hot Chilli Peppers you know that ending up like Bucks Fizz ain’t gonna be on their agenda. Still what you think is up to you now, as they have just released their first ep and are preparing to take on all-comers — including God. “We played an acoustic set in a church at one time and Scott played God & Satan instead of our track To The Light.” No bolt of lightning yet then! McKENZY RENVAL-VALIQUETTE, CHLOE BEZANT & ASHLEY EVANS

Hunted

It’s quite possible that Cardiff quintet Hunted will scare the sh*t out of you. Comprising of axe-wielder’s Steve and Daniel (guitars), Jon (bass), Matt “the animal” (drums) and Chris (vox), Hunted are a great metal outfit. Citing influences like Nevermore and Iron Maiden, you’d be forgiven for thinking Hunted were already up there with the best. With so much depth and intricacy to their music, from the impressive vivacity and range of the vocals to the audacity of the sums of guitar parts, they really are impressive. I Want Nothing is a totally epic piece of work. Like a possessed storyteller, Chris’ vocals spellbindingly cast a curse over a steaming cauldron of pounding drums and screaming guitars that pulse and pounce like rabid wolves. The track ends with a fabulous solo in front of some great bass and drums that do their own thing, rather than just play a supporting role. “Everyone gets involved because one imagination can only go so far. We all share the same influences, so none of us want to take it down a strange route, and we all know what our final sound should be.” This combination of creativity and imagery makes Hunted special, as showcased on debut album Welcome The Dead. From the fast and furious where drums and bass rage, chasing demonic and dastardly guitars, like on Impaled, and short four-and-a-half minute track Chosen, to the slow kindling of spirits where guitars glide and soar in a tranquillity and the drums dart and dance like a well-fed animal, apparent on the intriguing Shadows. Actively honing their art since 2007, Hunted have pursued a sound to which they can stay true. And with so much going on inside each track, the song writing process requires much thought. “We try to make our songs make some sense. We know where we want the songs to start and where we want them to end. Whereas before we had all these crazy riffs and would just throw them all in the middle somewhere, so we’d get from A to B, but via X and T, now we’ve tried to eradicate such strange arrangements and streamline it by getting to the point in our songs.” Such work is evident in Scars which twists and turns in elegant glory, neatly moving through its parts. It’s got fast metal riffs, cool bouncy riffs, eclectic guitar solos, and a rocky chorus. With riffs aplenty and a ton of interesting angles, Hunted are worth putting on your radar. ADAM PERKINS

Kickstart Kitty

This hard-rock/punk band from Old Colwyn in North Wales has caught the attention of PLUGGED IN — so we asked the four-piece for a potted history. Zachary (vox) and Karl (guitar) have been playing together since the age of 13, and in late 2009 they set out to make a new unique band. Kickstart Kitty was born with the aim of bringing something new to the scene both musically and visually. With a few member changes Zachary and Karl finally found the two members to make KK complete, Nathan (drums) and Tom (bass). “Our reflecting influences include rock, punk, funk, industrial, rap and pop. We have an outstanding sound and vibe that defines us and continues to evolve, attracting audiences looking for something fresh and exciting.” Hundreds of artists across all genres have played a huge part in influencing the band’s music. “Our personal lives and our dead beat home town has also been a big part of the influence. Being part of the Welsh music scene is important as there isn’t much going on in North Wales, but it’s bands like us and promoters such as Steve Rastin (promoter for Vegas Bar, Rhyl) who have the drive to keep the music scene around our home town alive for the live music lovers.” The boys were part of BBC Radio 1’s Big Weekend Fringe Event in 2010 “which was amazing, we got to meet some cool bands and people.” They supported Los Angeles glam-rockers Dirty Penny, were in the finals at Venue Cymru’s Battle Of The Bands, as well as the Live & Unsigned regional finals in Leeds. Look out for t this unique outfit gigging near you — you won’t be disappointed! PLUGGED IN

Sweet Manics

With two girls as pretty as Robyn and Rachel fronting Treorchy based five-piece Sweet Manics you may be lulled into a sense of poppy happydom. But beware, these girls bite and leave little behind with their “fiesty but fun” attitude on life. They sing with attitude and sing amazingly well too, following on from their influences in the vain of Pink and Kelly Clarkson. It’s the life experiences of growing up that help them write the original tunes which they powerfully blast out at us at the gigs PLUGGED IN attend, thriving on that musical community that exists within the Valleys of Wales, where Welsh bands all support each other’s rise into the spotlight. “We used to sing cheesy pop when we first started out, but as we’ve matured our style has become more our own — though we never take things too seriously: how can you when on our first gig, the guy introduced to the stage the Sweet Mechanics?” However, the girls do want to make it as they’ve been to three X-Factor auditions to date and will be supporting Sandi Thom in The Muni Arts Centre, Pontypridd, in April — so someone’s taking note! McKENZY RENVAL-VALIQUETTE, CHLOE BEZANT & ASHLEY EVANS

Alternative Expression

Indie-Go Modem

Currently being championed by RCT Cultural Services as one of the new bands to take part in their Make It music video project, Indie-go Modem have already made an impact on the music scene with their poppy rock-influenced style of music. Barely out of school, the Pontypridd-based six-piece have already supported the likes of The Blackout, Automatic, Straight Lines and Tiger Please. Still, they believe in sticking to their Welsh roots and perform a mixture of English and Welsh lyrics as part of their set, an element they regard as “very Important”. And they aren’t sitting down either having recently released their first album entitled Stay Out, which is available from the download sites. SOPHIE ROBINSON

“The makings of something exceptional, especially with a lead singer who can hold a tune like this guy. True potential so keep an eye out.” This was what PLUGGED IN said after listening to the demo from Alternative Expression, the melodic rock outfit that cite excellent bands like Goo Goo Dolls and Foo Fighters as influences alongside a taste for a decent cup of coffee. Originally a two-piece acoustic group of Lewis Morgan and Lewis Bunney they reformed introducing drummer Rhys Taylor. The band’s debut release An Alternative Expression was released worldwide on 3rd June 2010 with the three members. Add two further members, Pedro Alfonso Rodriguez on guitar and Harrison Tomaszewski filling the slot of keyboard/guitarist and the band felt complete and have recorded three brand new tracks with their current full line-up, the first of these Taken Down is available for free download on myspace. The new tracks are being promoted through a string of radio appearances in the coming months and also gigs in which they will be giving out free CDs. Though saying that the new recordings almost didn’t happen as when Lewis was supposed to attend the studio he arrived late after getting lost and being stranded in a field! “We only play songs if we all believe what the lyrics say and what is genuinely on our thoughts at that time. We do this so that no matter how much we play the tracks live we will still play them with 110% conviction.” PLUGGED IN

Sound The Attack

Sound The Attack have a great future ahead of them, and despite many line-up changes since gracing the music scene in 2007 have continued to thrive through their killer riffs and catchy melodies. The female fronted rock-metallers offer heavy breakdowns, catchy riffs and some big choruses, all bound up with the types of melodies and guitars produced by bands like Bullet For My Valentine and Avenged Sevenfold. “We’ve matured a lot in the way that we are writing music and in the way we are going about being a band. We are constructing songs much better and it’s a lot easier on the ears!” Mainstay members Rob (guitars) and Alex (drums) have been on an epic journey, but are re-invigorated through bringing in the amazing Vanessa Nichols (ex-Mea) on vocals in early 2010, offering the quintet a different proposition to the more male-led screaming vocals of the past. Showcasing what they can do, the immense We Are The War starts off with a pacy, killer riff that battles against the melody of Vanessa’s vibrant vocals. Guitars bounce and throb before throwing themselves headlong into a void of brutality. It’s a great rock song, well constructed, and the harmonic vocals give it that extra passion. Vanessa: “We’re working hard to merge together the catchyness of the boys’ music with my lyrics, which are more visual than straight forward.” Add that to the addition of Matthew (guitar) and Robin (bass) in early 2011, there is much stirring in the STA camp, including a new ep on the way. STA have already received some great recognition from the industry, proving their worth by finishing second ahead of hundreds of bands in a nationwide Kerrang! competition, and a support slot with Fightstar. Impressive performances subsequently earned them London shows with Fei Commodo and great reviews. Watch out…Sound The Attack are on the prowl, and you will love being ravaged and mauled by their fine tuneage! ADAM PERKINS

Reaper In Sicily

If a band are going to throw you against the wall with their powerful rock and impress the hell out of our Creative Director Darren Warner with just four songs, with all his knowledge and years of experience watching live acts, then we needed to find some space within PLUGGED IN for this band. Describing their music as sexy Power Metal Pop these boys from Aberdare play both hard and fast, and crank up the volume with their energetic music style. So it was no wonder that they won the best live and unsigned for Kerrang! magazine’s battle of the bands competition in 2009, got signed after only three live performances and have played the BBC stages at Reading and Leeds festivals. Saying that, the boys say they are influenced by the funny side of life, seeing the humour in the fact that they had a massive fight with each other whilst on a video shoot. Boys will be boys, I suppose. Reaper is a raw talent that needs to be exposed to everyone. CHLOE BEZANT & McKENZY RENVAL-VALIQUETTE

Before The Escape

If you’re looking for the next big thing to come from the Valleys, then look no further. Before The Escape are magnificent, combining great riffs, powerful drumming and booming basslines with charismatic and melodic vocals to create solid, intense and immensely satisfying rock music. Consisting of Craig (guitar), Jay (bass), Steffan (drums) and Matt (vox/guitar/keys), Before The Escape have been working hard to develop as a band, yet in a short space of time have already nailed some awesome tunes. Burden is a great rock track. It’s fast and heavy, led by a pounding back line and driven on by a cracking riff — and there’s a tantalisingly good finish that will have your head bouncing. Breathe is a superb track and will have your heart pumping by the end. A powerful riff punches throughout, beautifully slowing to capture thought and emotion before smashing in with a crescendo of riftastic glory, slamming drums, driving bass and a fabulous chorus that’s got plenty of soul and passion. It’s the type of song you can listen to over and over again. This epic rock vibe of feeling is something that Before The Escape capture very well, and what makes them stand out above many other bands. “We enjoy bands with riffs and melodies, which probably comes across in our music. But things just seemed to click first time for us. We are starting to find our sound, which comes out in our newer songs. They’re a bit heavier, with some new ideas, but definitely more focussed.” Lies Of Storytellers is heavy and distorted with powerful drums, yet lead guitars are vibrant and free, adding great melody in their tantalising performance. The song captures all the glory you might expect from bands like Funeral For A Friend and Jimmy Eat World. And brand new ep Here’s To Looking Through You is epic. Backing up earlier material, it shows experience in their music. Signs gets up and dancing before the drums break a move and slam the track headlong into a bouncing and rocky riff, which becomes more and more elegant as the track grows alongside Matt’s harmonies. In true rock and roll fashion we’re treated to a glorifying solo to close. With an immense live party piece that sees Steffan beat-box through the start of Castles, before deep and heavy bass and distorted guitars slam the place to pieces, Before The Escape are something special — get used to hearing the name. ADAM PERKINS

Whytleaf

After only six months together Whyteleaf released debut LP Fight The Age in mid-2009 to critical acclaim. An impressive bond was made as former members of Screaming Eagle, Nikolai (bass) and Tom (guitar), reformed and transformed through new drummer Simon, and they are making some really cool and impressive vibrations for your stereo. The record includes the brilliant and rifftastic By The King’s Hand, which offers so much as the trio fuse power with melody. It’s got quality riffs and hooks, neat arrangements and powerful drumming. Wake Up The Dawn bursts in with a fantastically fast riff, and turns headlong into hardhitting drums and a grungy bass. It’s a ballsy track, with a great stoner-rock feel, melding the fast with the slow. “Wake Up The Dawn was the last album we did as Screaming Eagle, so it’s a way of saying goodbye to the old stuff and hello to the new.” Having become disillusioned with SE, as well as the demise of a ‘stoner rock’ scene in Swansea that SE were a big part of, the boys have a new-found vigour and are throwing themselves into the venture. “Simon has a different style to what we were used to and we’ve moved towards the type of music that we want to make. It’s a bit more angular and heavier, but keeping the melody. The new stuff has more movement and arrangements, as well as well as having more energy.” Heavy drumming on opening track Take Note rages like a lion moving in on its prey, the guitar twists and turns and leaps out with some fantastic fingerwork as it circles and eyes up the prize, and the grungy bounce of the bass snarls wildly as it attacks. Know Your Place carries more melodic vibes but it certainly retains all the brutal grit and determination through the onslaught. With a follow up album planned soon, it’s worth getting into these guys. The fantastic seven-track Fight The Age is such a good listen, I urge you to check them out! ADAM PERKINS

4wordslater

This four-piece indie pop punk outfit from the Talbot Green area got together in school by jamming in the music department. Originally a three piece of Ed, Sion and George they say they discovered the fourth member Ryan lurking in the corridor outside, but really felt that they needed another member to help push them further than they had got to at that point. All four started music from a young age with their parents guiding them to play guitars, drums and piano throughout their early childhood, an experience that is starting to pay off having already shared the stage of Ponty’s Big Weekend with the likes of the Sugarbabes and, of course, those local legends who are always out to inspire the young bands around them, Straight Lines. “So many great artists have come out of Wales, we are determined to be part of the next generation. Welsh music is closer to home, part of our community, it is accessible to all.” ASHLEY EVANS

EXCLUSIVE INTERVIEW Words by Richard Samuel Photograph by McKenzy Renval-Valiquette & Chloe Bezant Photographic Manipulation by Romano Marenghi

n the wonderful setting of The Blueberry, Pontypridd, with the remaining 10 minutes of the Six Nations rugby game between Italy and Ireland being played, PLUGGED IN caught up with Jam With RoBina’s Mark and Romano over their favourite cups of tea and coffee (note infamous tea skit on their debut album Visions Of A Runic). The banter and passion batting back and forth between them and their mates through their text messages because of their strong Italian heritage is most amusing! Since we first spoke to the guys for PLUGGED IN Issue 3 (available as a free download from our website), they have gigged regularly, even playing the same bill with one of their heroes José Gonzales, and more recently taken time off to write a new album. So what better way to catch up with the boys than to talk about the brand new album Dark Recollections which PLUGGED IN has eagerly been anticipating for a year! There’s a lot of emphasis on the ‘Jam With’ this time around as the guys have been collaborating with other musicians on the record. Mark explains: “The people who contributed musically are friends we’ve played with in other bands, or we’ve met through gigs — musicians we respect greatly. We’ve travelled around the UK to record some parts, for instance we went to Reading to meet with some of my old university friends who added some bass, congas and drums to a few tracks.” There has been talk of the guys permanently adding a drummer to the mix, but as Ro explains: “We were worried about changing our sound and the genre we were originally based in too much.” Mark adds: “The drummer was a fantastic sticksman, but unfortunately the songs we currently had from the first album didn’t really fit the new direction the drumming took us in, it changed the dynamic of the band.” The drummer in question features on several tracks on Dark Recollections, but these were written with a drum part in mind rather than retro fitting drums to an already written song. The results are awesome. The album itself says Ro is a concept album, which is totally story led. “It explores our prog curiosities as well as having hints of Country/Latino, with influences coming from Marty Robbins and Johnny Cash amongst old influences such as Circa Survive and Zero 7. We feel it fits a folk-rock/prog-rock vibe and each song has its own accompanying artwork giving greater insight into the fable behind the lyrics.” Mark adds: “After Visions we always said we’d only write a second album if we had a clear idea from the outset of how we wanted it to sound. I carried on in the same vein as the folk-fuelled track Visions and started to come up with strange arrangements in odd alternate tunings on the guitar. Ro has always loved the idea of writing a concept album based on part fact, part fictional stories.” Ro continues: “After hearing some of Mark’s

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more unusual guitar concoctions I instantly thought this might be the only chance I get in my lifetime to encorporate my ideas of oldschool storytelling within the song art form. I pitched it to Mark and he loved it, so from the outset Dark Recollections had a clear lyrical and musical direction. I guess this comes from the experience of having done an album that was for the most part a collection of ideas we’d had lying around for years. There’s a cohesive feel that runs throughout, and there’s certainly lots of different flavours! The writing process is based upon stories from my childhood, my dad sung songs to me as a kid about Vikings, monsters and macabre ideas explored in the song Tom Dooley [by musicians the Kingston Trio].” Mark chips in: “Old influences surface from within, perhaps songs or artists you haven’t listened to for 10 years! You get a certain feeling for the song that reminds you of a past influence, like Reef’s debut album Replenish, without actually sounding like the song in question.” Mark, with a Cheshire cat grin, lists his guitar influences for this album as John Martin, Bert Jansch, Days Of The New, José Gonzales, Gustavo Santaolalla and Sabino Huaman. Ro explains the origins of track Forbidden Wood is about taking a journey into the imagination: “In this case you’re sharing our journey. I felt it was the best way to bring the listener into our collection of stories.” They both agree, with a certain degree of fulfilment and contentness, that the album is grander and just more epic than the previous effort. Having listened to their new masterpiece, PLUGGED IN has spotted a cheeky tweet towards super-producer Romesh Dodangoda, who’s worked with bands such as Funeral For A Friend, The Blackout and Not Advised. Mark, who takes on all mixing and mastering duties, said: “I’d been mixing the album for a long time and was nearing completion. I was playing with various mastering techniques and got immersed in some experimental ideas and having had my head buried in headphones for so long I was keen for a second opinion from another producer. I eventually threw a track in the direction of producer friend Andy Davies of Audio Nomad who gave some feedback. He loved what I’d done and that was all I needed.” The album was again recorded in the cosiness of Mark’s attic (Wern Villa Studios) which allowed the band to save money, but more importantly allowed them not to rush the process. The whole mastering stage took six months, in which Ro wasn’t allowed a sneaky listen at all. “Overall I enjoyed the process but it can be tricky being in the band as well as being the producer as you’re giving creative input from a band member point of view as well as technical input from the producer’s chair,” adds Mark. “I learned a lot and it was very enjoyable, I’d certainly do it again.”

Not to be upstaged, Ro took on artwork duties which took him the same amount of time and which Mark couldn’t see at all. Ro stated his lyrical inspiration comes “simply from things that take my thoughts when times are quiet and there is a chance for thought. The style for the artwork is something I experimented with at art college when doing my foundation degree. It was one of those things I liked at the time but felt necessary to store away for the right moment. Overall I simply wanted it to add to the depth of the completed product, which we now feel is a plethora of the various art forms we’ve used on this project.” When asked if any of the songs could be a hit commercially, it was suggested that Lunatic could be, but the guys didn’t seem that bothered. Although interestingly DJ friend Olie Bright is currently working up some remixes off Dark Recollections. He’s a regular at Swansea’s famous Escape and might be spinning a special JWR mix in the near future! On talk of their debut album Visions possibly being one of PLUGGED IN’s Top 50 albums (to be published in issue 12), the guys would be ecstatic if it was selected. “That would be rumpin’,” said Ro, which is their way of saying awesome. “To even get a mention in the Top 50 albums would be amazing. If anyone has decided to vote for us then as far as we’re concerned we’ve succeeded. All we want to do is make original music, if we gain fans on the way then that would be rump streets. If I were to see my album in a charity shop, I’d know we’ve made it because someone has taken the decision that our music is worth passing on!” So what does the future hold for these guys? “Definitely playing a few gigs,” said Ro, “but less than usual as the balance between gigging, social lives and 9-5 jobs gets harder to manage, plus we don’t want to lose our specialness.” Mark, whose been writing for PLUGGED IN as a music reviewer has enjoyed contributing to the magazine. “It was much harder than I thought!” he laughed, but added that it’s something he hopes to continue — and I, personally, hope he does because his writing style has certainly influenced my own. These two guys ooze intelligence in their song writing and are phenomenally creative. They make sure music stays as a traditional art form, releasing self-produced albums with original artwork to boot. All this whilst remaining rooted to the ground, enjoying the music they make and being two of the best people you could ever meet. Go buy the album and you’ll see what I mean! www.myspace.com/jamwithrobina Dark Recollections is available now via iTunes and Amazon

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Could you describe yourself in five words? Cat: I’d like to think I’m independent, positive, energetic, elegant and spiritual. Can you tell us about your band Sal? Cat: Mmm, we’ve been together 10 years and I’ve really enjoyed being a part of it. We’ve made three albums and have a great fanbase. It’s a rock/pop sort of band, although we draw our inspiration from a lot of different influences, including metal and punk.

Words by Martyn David Photograph by Darian Rees-Lewis & Ashley Evans

What’s your role in Sal, what do you think you bring to the band? Cat: I bring the female element to the band, though our drummer, Den is more of a girl than me! I have a classical background, but I’ve always listened to rock and dreamed of performing, so when I was offered the opportunity I took it, I sort of had to re-learn my craft — it did teach me to look after my voice though. Why have you decided to launch a solo career? Cat: It feels like the right time. Everyone’s life has been getting in the way lately of being in the band — it’s no-one’s fault, that’s life! I’ve been writing songs that are different from the Sal style and thought I’d have a go at going solo. I’m scared, but it’s a new chapter and very exciting. Have you started your new album yet? Cat: Yes. I’m writing all the time. I’ve been writing a lot of songs with Noog, the founder of Sal and one of my best friends, we work really well together. We’re demo-ing them at the moment. We’re working on a concept album (loosely), it’s a chance for me to show off and really sing! I’m also writing a lot at home on my piano, back to basics, just experimenting with different styles, and I’ve made some great contacts for potential collaborations. How do you write your material? Cat: The words just happen, in any situation — such as driving on my own, a lot of my words come from those moments. I’ll actually pull over and write it down! I write about what I’m feeling, but also about the human mind, questioning the world. I’m jealous of people who can lock themselves in a room and work, like Noog. I have to be in a creative mood, a zone, and I’m also way too hard on myself. So, how did you get into working with the Manic Street Preachers? Cat: I had a call from their producer, they wanted me to do vocal arrangements for four of the songs on their new album, including title track Postcards From A Young Man. I was obviously excited and said yes. It was scary though as they only gave me something like a week’s notice! I went to the studio to take a listen to the demos, and then I had to create the vocal parts. I absolutely love the finished product. How did you end up singing with them on Strictly Come Dancing? Cat: I had a text saying “Have you heard about

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about Strictly?” and I instantly thought “I’m going to be a dancer!” but The Manics had been booked to perform on the show, so the night before I worked with the Strictly singers to go over the vocal arrangements of the song the band was going to sing as it had a lot of backing harmonies. It was awesome to be on the show, not just because of the singing, but because the audience is huge and my mum and sister watch it religiously! And then there was Jools? Cat: I love Jools Holland, I’m a huge fan of his

show Later. To be on the show [singing backing vocals for the Manics] was like a life goal being fulfilled. It’s weird because, the show that you see on the TV is exactly what it’s like, it’s just one big party! Do you have a piece of advice to your younger self and anyone who wants to pursue a music career? Cat: Don’t worry so much and enjoy it all. If you enjoy it, then it’s what you’re meant to do. I’ve never seen my music as a burden, even after 10 years. You’ve got to live it.

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Words by Robyn Kennedy Photograph by Chloe Bezant, McKenzy Renval-Valiquette & Ashley Evans

itting with Matt, Mike and Matt one Saturday afternoon to hear the life story of band Nothing New was certainly an experience and a half! The guys are loud, animated and passionate, much like the music they make. Producing in-your-face pop-punk, Mike Smith names the likes of Blink 182 as influences, while Matt O’Brien goes on to mention that he is inspired by art, much to the amusement of the others. “I like anything with a good drum beat,” he explains, “art, music and food is what it’s all about.” How can you argue with that? A young Mike created Nothing New at the tender age of 13. Matt O’Brien joined after the two met at university and apparently Matt Bevan was “stolen from another band”. And the rest, as they say, is history. The boys took to the road in 2009 for a tour of the UK which proved to be a real bonding experience for the band. “We were literally ass to mouth,” Matt O’Brien states. “We’d never even spent a night together before that. I bought a van and we slept in there.” Despite admitting that some of the shows “weren’t the best” with the help of friends and of course the company of each other, the two weeks spent touring were the “best ever”. One of the most striking qualities about the band is how much fun they appear to have even though they admit that it’s often “really hard” especially considering that Matt

O’Brian is now based in Oxford. “It’s like a relationship...you need to fight for it.” The boys have taken the distance between them in their stride, even organising an event in Oxford which they describe as one of their favourite gigs to date. “There were about 200 people there, singing our songs back to us.” The boys go on to tell me about the way they work. “We literally do it all ourselves,” they state. “Any merchandise, CDs...we make them all. We’re a DIY band!” Looking at a copy of one of their CDs, you can bet your life on it, it’s blatantly obvious how much effort goes into creating these items. With Matt, Mike and Matt having studied graphics/art at university, their merchandise is innovative and imaginative and a credit to their talents as not just a band, but as artists as well. And for the next EP? “We’re hoping to do a 3D theme. Think 3D glasses, T-shirts, CDs!” The conversation soon turns to song writing. “The music always comes first. We make up the lyrics on the day we record the song! We’ll usually come up with one powerful line and build around it.” So if there’s no thought process behind the lyrics then what are Nothing New’s songs actually about? “Nothing really. Well, if anything, the underdog. Anyone who listens to our songs and thinks there’s meaning behind the lyrics...there isn’t!” Evidently this method works if the band’s collection of catchy and memorable songs is

anything to go by! The quirky image of the band is something that needs to be mentioned. From that red hat which seems to be permanently attached to Mike’s head to Matt O’Brien’s love of body art, Nothing New are certainly not image conscious but more effortlessly cool. Whilst having a tour of Matt’s tattoos, Mike goes on to tell the story of how he got his. “We were going to get matching band tattoos. Matt (O’Brien) had his done but I decided that I couldn’t afford it. So the tattoo guy said that if I ran over the road to the shop and bought him a bottle of Powerade then he would do the tattoo for me, and he did!” Mike proudly shows off his 98p work of art while Matt O’Brien shouts “mine cost £70!” And where is Matt Bevan’s Nothing New tattoo? “My body is a temple,” he explains! Be it getting matching tattoos or rocking out on stage so hard that they cut their own head open with their guitar (Mike Smith!) Nothing New are beyond fun. Refreshingly, they don’t take themselves too seriously, but like all bands have ambitions to “be in magazines, on the radio and make money from doing what we love.” With another tour in the pipeline I have no doubt that the boys will continue to impress audiences wherever they choose to go. When asking them if they have any last words to conclude the interview the response is “listen to us...we’re awesome” and I couldn’t agree more!

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nnovative Carmarthen-based quintet Supergene will have your heart racing and your head spinning in awe of their balladic rock symphonies and melodies. With a big band sound full of musical theatrics and sublime riffs, the Supergene machine has struck gold, and is well and truly oiled for glory. Combining a great symphonic rock sound with a crescendo of keys and guitars, all wrapped up with string quartets and perfect melody, Tom (bass), Sam (vox/guitar), Danny (piano/ keys/vox), Joe (lead guitar) and Edd (drums/ percussion) are a joy to behold. A fabulous live band, and backed up with a masterpiece of a debut album Secrets Lies & Broken Machines, which is absolutely mesmerising. Thirteen tracks of stunning harmonic glory are wonderfully woven together through Supergene’s highly impressive musical vision and creativity. “The album is a few years in the making but we are really happy with it. We’ve got real orchestras on the tracks with strings, which was really important to making it authentic, and is a dream come true because we wrote the scores ourselves. It’s great to see your work come to life like that. We are really proud of this album, and proud to say that this is Supergene and this is how we sound.” The stunning orchestral parts that appear on tracks like Russian Doll, Smile For Once and fan-favourite Jackie Jones, a song that has been with the band since its early days, are the icing on the cake to Supergene’s sound,

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which has been rocking out and developing with the boys since 2005. There have been many line-up changes over the years, leaving the current quintet to grow into the fruits of the harvest. “This line-up has been together for about a year now, and it’s coincided with the band having achieved the most in regards to gigs and recognition. That’s a rule to how well we get on and how well we play together. We’ve really gelled as a band and it’s exciting. We are all really hyped up.” Secrets Lies & Broken Machines is littered with highlights, but one of the standout tracks Smile For Once offers so much. Sam’s stunning vocal range is delicately aligned with a beautiful musical arrangement. It starts with a marching bounce of keys, bass, drums and guitars, setting a cool rock vibe, then you get a heart-pulling string section that glides and soars, and really puts a smile on your face. It’s got bounce and swagger, sing-a-long lyrics, and ends by blowing the roof off in euphoric and harmonic rock glory. The song is a defining moment for the quintet. “We were doing a lot of songs that either myself or Sam had written, but Smile For Once was one of the first songs that we did together, bringing all the elements together and starting the direction of the band.” Russian Doll is a mesmerising piece of music that comes from left field. The riff is themed in that you feel the doll’s layers peeling off with each beat. It’s a great concept, as

guitars dance around with the keys, before the track lays in its crescendo of distorted guitars underneath some fabulous orchestral manoeuvres. In comparison My Lying Tongue is faster, with drums and bass bounding along, as Sam megaphones it over the top. Suddenly it breaks into this loud, crazy and rocking chorus. The track’s cool riff was dreamt up (literally — there is a story of waking up and writing it down) by Danny, and it also includes a great electronic interlude. It’s hard to pin-hole Supergene’s sound. The quintet have written tracks with soaring melodies, string sections and slow harmonies, and then throw everything headlong into a void of pulsating rock with distorted guitars and crazed drums and bass. Set The Town On Fire and Jackie Jones really showcase what Supergene are all about. They are layered with some fabulous symphonies, harmonies and soundscapes, in which each instrument plays its part, and more. Supergene’s symphonic rock really comes to light through these rocking symphonic ballads that offer something between Muse, Biffy Clyro and Radiohead. Then there’s some more straight up rock ’n’ roll tacks in the likes of Konichiwa OK and Say You’re Sorry, which offer a more rip-roaring ride of guitars, bass and slamming drums. The latter of the two breaks out into an electronic march of sorts before hammering home a wonderful rock outro that has plenty of

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SUPERGENE

Words by Adam Perkins Photograph by Huw Davies

elegance in its harmony. “We wanted to do a song that we could play at festivals and people would go ‘wow’. Say You’re Sorry was one of those, and when it came to being in the studio we wanted to make even more out of it. We put some foot stomps in to give it the march, and got some metal bars in there. It was really fun recording it.” With so many ideas, and such an ethereal sound there is so much going on, making Supergene the type of band you can listen to over and over again. So gelling as a band and being able to spend a lot of time together writing has been important. The boys are at home when they are in the studio because it allows all their thoughts and ideas to come to life and realise a sound that is ‘Supergene’. “Being in the studio has helped us look at our songs a lot more critically and structurally than perhaps we had before, which is important to our sound. There are ideas that we’ve had for a long time, but weren’t sure where to go with it. And they come together in the studio as we were trying to fill out the sound of each track. But, importantly, we’ve always felt that we

can back ourselves up live.” Secret Lies & Broken Machines was launched to a full house in the CIA during the Wales rugby autumn internationals. “We are grateful they allowed us to tie that gig in with the CD’s release, and we played our socks off, everyone enjoyed us, and it was the gig of our lives.” Featuring a load of other bands and a rather large audience, it was a great launch-pad for the Carmarthen boys. “Phase one was getting the album ready, and doing the big launch gig. Now we’ve got a deal with large supermarkets. When we play a town they’re going to put the album in there. So it’s all come together really well. It’s a real coo on our part. We are one of the first to do it. We’re unsigned and unmanaged, and have done it all ourselves. Now we want the music to do the talking, now that we’ve produced the music to speak.” Supergene work hard and play hard, and offer a sound and ambition that deserve to be rewarded. There is an amazing sketchpad video for album opener For A Friend, which grows with beautiful melodic sounds that dazzle in dreamscape through soft keys and heart-felt

gentle guitars. And being from Carmarthen means they don’t have the luxury of a thriving local music scene to fall into. Instead, trips to Cardiff and London have become a staple diet. “Our London gigs are going really well. We felt that if you’re going to get spotted anywhere it’s going to be there, and the standard of bands there also means we need to up our game more, and that’s helped us.” With an amazing symphonic-rock sound that they can really showcase live, and backed up with such a fantastic and inspirational record, Supergene are a credit to music in South Wales. And now they’ve found a sound that truly is Supergene, there is a lot more to come. “We’ve had this album in waiting for a long time, and now we’ve started writing more material and looking to the future. We’ve got two tracks that we’re definitely going to go ahead with. It’s keeping all the symphonies, but it seems to be heading into a heavier route, with some underlaying progressive rock and being melodic as we usually do.” Never mind the town, Supergene are about to set the world on fire!

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CRAIG THOMAS My name is Craig Thomas and I have been involved in photography since childhood, a passion which has continued throughout my life. I initially joined a Cardiff camera club, gained some great knowledge and went on to have images chosen for exhibitions both in Wales and abroad. However, in recent years I have taken my photography onto a professional level with the formation of my company Opposite Images, initially shooting portraits and weddings and specialising in the documentary style of photography. Around nine months ago I shot my first ever gig — Stereophonics in the Cardiff City Stadium, a true baptism of fire but what a great experience, and I haven’t looked back since. I have gone on to shoot numerous other artists, from Feeder and Bullet For My Valentine to JLS, My Chemical Romance and Status Quo. The photo documentary that I have been doing over the past nine months has involved a local South Wales band, 4th Street Traffic from Bargoed. I had been looking to do a documentary-style project for some time and having seen the band supporting Stereophonics in Cardiff just knew they would be right for it. I contacted their manager, Paul Evans, had a chat and from then on it has been an awesome experience following them on the ups and downs of gigging in and around South Wales in search of the Holy Grail — that elusive recording contract. The documentary “4th Street Traffic — The Story So Far...” has developed into more than just a set of images that tell a story of a band, but has become a long-lasting friendship born out of shared experiences. Hopefully the final images of the documentary will be a fitting end to the story when they finally, at some point, sign their well deserved record deal. There is currently a dedicated page on flickr about the project and also on my website: www.oppositeimages.co.uk

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The five boys that make up hot new pop sensation The Wanted are on a mission to bring some much-needed cool — and a fair bit of sexy — back to boyband land. Though these guys are a million miles away from the ‘stand-up-for-the-key-change’ school of dewy-eyed balladry and cheesy co-ordinated outfits usually associated with the term. There’s a palpable rough and tumble energy and down-to-earth laddiness to the fivesome that makes it abundantly clear they’re not just band mates on the verge of pop stardom. “We’re just five ordinary guys who like having a laugh,” says baby-faced 16-year-old Nathan, the youngest in the band. “We’re all very different personalities and come from all over the UK, but somehow it works.” Over the last year the boys have been working hard honing their edgy pop sound that incorporates elements of low-slung beats, anthemic rock dynamics and swelling modern pop melodiousness in a mix that is uniquely The Wanted. “I’d say it was edgy pop, but there’s a bit of rock and a bit of indie in there too,” says Jay, 19. “It’s certainly not your usual boyband stuff.” The band have also been busy travelling the UK and Europe to co-write and record with some of the biggest names in pop. From Danish pop maestro Cutfather (Christina Aguilera, Pixie Lott, Santana) in Copenhagen and Rami & Carl Falk (‘N Sync, Britney Spears) in Sweden; while back in the UK they

worked with hitmakers Steve Mac (Kelly Clarkson) and Guy Chambers (Robbie Williams, James Blunt) to perfect their state-of-the-art modern sound. All of which culminated in the release of their self-titled album The Wanted back in October. Launching themselves on the public scene last summer, the boys were off to a good start when their debut single went straight to No 1 in the pop charts. “I’m a huge fan of All Time Low,” says 21-year-old Max of the band’s anthemic first single written by Steve Mac and Wayne Hector. “That song really nails what we’re about as a band. I love the way it just starts with a vocal and a few strings, and then it just builds and builds to this massive big sound.” Working with someone like Guy Chambers must have been pretty daunting. “Yeah, he’s a bit of legend isn’t he?” says Siva, 21. It was with Chambers that the guys recorded the brilliant Let’s Get Ugly, which takes in a classic Ennio Morricone spaghetti western sample and mixes it up with the swagger of a young Robbie Williams and a dirty baseline to create a totally unique slice of modern pop. “I love that track — that’s actually where we got the name The Wanted from. Nathan came up with it,” says Tom, also 21. “Yeah,

Toy Horses Set to take their rightful place alongside the almighty talent spawned from Welsh turf are this step-father/step-son duo, who release their début album Toy Horses this April. PLUGGED IN: It seems like everyone is singing your praises. What does it feel like to be ‘hotly tipped’ for success? Adam: In only the very rarest moments does it feel at all deserved. Tom: Bizarre, scary and exciting. PLUGGED IN: Does the family connection between you both help or hinder your song writing process? Adam: If the family connection disappeared, I think the songs would sound the same. Tom: It’s easy to find each other if we come up with a new bit for a song! PLUGGED IN: With such an age gap, what made it feel right to be in a band together? Why not form bands with other people your own ages? Adam: We didn’t even set out to form a band. It happened almost in spite of us and can’t be regarded as anything other than an accident. Age shouldn’t/didn’t play any part. Tom: There seems to be an obsession with age in the music business. Just because one of us has been on the planet for longer than the other doesn’t mean we shouldn’t write songs together. PLUGGED IN: Where in Wales are you from, were you born there? If not, where in Wales did you grow up? Adam: I was born in Caerphilly District Miners’ Hospital but grew up in the Vale of Glamorgan. Tom: I was born within the sound of the Bow Bells in London but moved to Wales when I was 4 so I consider myself a Welsh Cockney! PLUGGED IN: When did you each realise you had an interest in music? Adam: It’s been an ever-present, unavoidable constant growing up. The desire to write a classic song is a far more recent obsession. Tom: I can remember making up songs in my head and not quite making it to the toilet in time, so I guess I was either very young or very drunk. PLUGGED IN: What inspires you when you write the lyrics of your songs? Adam: Each song tries to deal with a separate subject matter or make a different point — there isn’t one single, over-mined source of inspiration.

it came out of the whole wild west vibe of that song, and just sounds cool, not too cheesy,” adds Nathan. So, exciting times are ahead for the five boys as they tour the album and get to meet their hoards of adoring fans. “We want to meet as many as we can,” Nathan told PLUGGED IN’s Editor. “We want to play our music to as many people as possible — and definitely won’t miss out on coming to Wales. I’m from Gloucester so it’s only over the bridge isn’t it!” And you can see the boys serenading you up close and personal when they play Ponty’s Big Weekend on Saturday 23rd July,

Cerys Matthews

Cerys Matthews takes to the road once more for her highly anticipated 2011 UK tour: Over Land & Sea. The Welsh songstress will be introducing a brand new album which accompanies the critically acclaimed 2010 release of TIR (land). Her live shows will include songs that she has collected from her childhood years in South Wales, her travels around the world, as well as her now considerable catalogue of solo and band songs — all delivered with her humorous asides and curiosities, so it promises to be a magical journey. PLUGGED IN’s Editor asked Cerys how she chose the material to perform on this latest tour, with so much in her back catalogue she must have found it difficult. “It is difficult, I’ve been looking through all my old books of set lists so I can see what I haven’t done for a while. There are some songs you just don’t feel like singing, but may come back to — like Valerian from Equally Cursed & Blessed, I haven’t done that since the late Nineties but will include that now. Then there’s all the Catatonia stuff and B-sides. I just go on gut-instinct really and mix it up a bit.” What’s the story behind the latest album? “Well, I enjoyed making TIR a lot and I didn’t think it would be so successful, so this next album is going to be similar in that it’ll be stripped back and have simple arrangements, but it won’t have as many Welsh language songs.” In our soon-to-be-published poll on the Best 50 albums produced by Welsh artists, Catatonia’s International Velvet was heavily favoured by the readers of PLUGGED IN. How do you feel about this? “Wow, thank you! It was an amazing time and it’s allowed me to do music all my life. As a songwriter I can’t tell you how touching it is if someone latches onto one of your songs and tells you it has meant something to them. I owe you all a pint!” With the recent news that Wales has the third worst standard of literacy in Europe, how do you believe song writing can be used to help alleviate this problem? “That’s a terrible piece of news. I guess we need to ensure good teachers are allowed to teach and not stuck in an office filling in paperwork.” GAIL GRIFFITHS

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In this Live Reviews section there are 20 pages for you to read about the gigs that have been taking place over the last few months — quite a few at the newly named Motorpoint Arena, Cardiff, formerly the CIA. Of course we also cover those smaller gigs in venues just down the road from where you live, where you can see the up-and-coming bands everyone is talking about. So if you’re a young promoter putting on a gig somewhere in Wales or a budding writer going to see a Welsh band play, just get in touch and we’ll see if we can fit your review in the next issue — due for publication in July.

The Saturdays

30 Seconds To Mars

Having two young daughters who know all the words to all the songs by The Saturdays, I just had to take my little darlings to see their favourite girl band when they came to Cardiff on their Headlines tour. After a short warm-up support from Twenty Twenty, a cute new boy band who my girls instantly fell in love with, there was a short wait for the headliners to appear on stage...which they did in style! Rising up on a platform from behind their stage set, perfectly posed and singing their appropriately named hit Up, with a wonderfully effective light show that lasted for the duration. From the very first second the audience all stood as one and stayed standing throughout the hour and a half concert. Needless to say my little ones had to stand on their seats in order to see their idols — and I was eternally grateful it had been arranged as a seated gig...though like I say no one sat down — at all! Strutting their stuff while blasting through their catalogue of hits, the girls — both on stage and beside me — sang hit after hit. Missing You, Ego, Higher, Issues, Forever Is Over, Died In Your Eyes, Karma, Puppet, One Shot, Just Can’t Get Enough were all accompanied by footperfect dance routines and of course some fancy costume changes, all of which my girlies loved — though their dad especially liked the short black leather numbers they wore for the encore! GAIL GRIFFITHS

American rock stars 30 Seconds To Mars could not have picked a more awkward date to pay a visit to Cardiff. Buried under what seemed like 10 feet of snow, reaching the arena itself was truly a triumph and at some points had seemed an impossible dream. Freezing cold and more than a little disgruntled there was no way I thought this gig would be worth the huge effort I’d made just to be there. Thankfully that was not the case! Warmed by the huddle of fans and the music that filled the air, my mood began to thaw — along with my toes! Enter Shikari provided impressive support with a performance that didn’t fail to get the crowd hyped up and ready for action. Anticipation rippled through the crowd in the build-up to 30 Seconds To Mars’ entrance. The opening performance of Escape was beyond amazing as drummer Shannon Leto took to his kit, beating fast and furiously. The lights followed suit, blazing, blinding and building tension throughout the arena. Plunging into darkness, the crowd went wild as front man Jared Leto’s voice could be heard softly yet poignantly singing the words “time to escape...” Just when the anticipation was getting too much to bear the lights exploded into life as Leto screamed the phrase “this is war”. Those three words brought down the house, and kicked off a truly incredible night of pure musical talent. Leto was sociable, chatting to the audience but living up to his rock and roll status with a string of bad language and obscenities. The band proceeded to play classics such as crowd pleaser The Kill which slightly disappointingly Leto managed to forget the words to, but it was their performance of songs from latest album This Is War that really shone. Leto excels at emotional tracks because with such a strong powerful voice, lyrics are hard hitting and impressionable when sung with such angst. Songs such as Hurricane and Alibi provided him with the opportunity to show off his remarkable vocals. Absolutely secure on every note, the heights his voice can reach is beyond anything you can ever hope to experience. Backed by his brother on drums and Tomo on lead guitar, this trio are born performers. Not only can they write beautiful songs, but they can play them exceptionally well. The band closed with track Kings & Queens, during which Leto plucked audience members from obscurity and brought a crowd of them onto the stage. The camaraderie and togetherness of the band with their fans was inspirational and a truly magnificent end to a wonderful night. 30 Seconds To Mars hit all the right notes with their performance that night. Their passion for the music they play illuminates every person that is lucky enough to hear it and I certainly felt lucky to witness them live and in the flesh. A truly unmissable night. ROBYN KENNEDY

Motorpoint Arena, Cardiff

Arcade Fire

Motorpoint Arena, Cardiff Any band of Arcade Fire’s stature is going to be surrounded by a certain level of expectation, especially given the reputation they’ve earned for themselves as being one of the world’s best live acts. The anticipation is certainly present tonight as the Canadian band descends on the Welsh capital as part of their European tour. The drone of the crowd is overwhelming, energised by Devendra Banhart’s blend of freak-folk and then whipped into frenzy by the arrival of a mix-matched ensemble. Arcade Fire quickly dispel any possibility of disappointment, launching into a fast-paced, testosterone-fuelled anthem from latest album The Suburbs. From that moment onwards, Win Butler & Co have the crowd in their hands. Crowd pleasers like Wake Up and Rebellion (Lies) are reeled out alongside newer songs The Sprawl and Modern Man which are chanted along to by the audience as if they have known them for years. A huge billboard displaying grainy imagery of the band in play was the only sign of extravagance at tonight’s gig, surprisingly, not serving as a distraction but helping to focus attention on the artists. It was remarkably refreshing to see an international band aware of their cultural surrounding as Butler is quick to point out that his interpretation of Wales had been shaped by the film How Green Was My Valley. This recognition of Welsh culture culminated in the replacement of lyrics in the title track of The Suburbs with “all of the TGI Friday’s that they built in 2010 finally fall”, a satirical view of the new fast-food chain opposite the venue. As the crowd beg for an encore it becomes evident that Arcade Fire’s music has achieved something many other artists fail at when reaching the same kind of success — it retains a level of engagement suited to small venues, while holding onto the sheer power that justifies their place in this 7,500 capacity arena. Seeing Arcade Fire live is simply something you have to do in life. CHARLEY JOHN

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Motorpoint Arena, Cardiff

My Chemical Romance Motorpoint Arena, Cardiff

First on were LostAlone, opening proceedings with their rock music. The main warm up coming from The Blackout, who burst onto the stage with STFUppercut, and their mic-swinging hypnotic antics combined with the energy of mischievous monkeys at a safari park brought tonight’s proceedings to life. Playing material off forthcoming album Hope in the form of taster Ambition Is Critical, whose opening riff is mesmerising before exploding in your ears, and single Higher & Higher. Mix in favourites from their full debut album, I’m A Riot! and It’s High Tide Baby with Save Yourselves and its arena-filling jumping antics, and you get the perfect warm up act for the main event. Sean and Gavin’s banter between themselves and the audience is as good as a comedian who could sell out this venue. I think it’s fair to say they found some new fans in this audience. Tonight however is all about one band, My Chemical Romance. Now I’m going to be straight here, before this gig I was never a fan just a casual listener. As the lights dimmed before their 90-minute set, the scene of an eerie 2019 California was set by projected images on the side screen from their latest offering Danger Days: The True Lives Of The Fabulous Killjoys and the screams for the band grew louder. Look Alive Sunshine started to fill the arena, then fused into single Na Na Na (Na Na Na Na) with roars of approval from the crowd. Playing heavily on the new album, there’s a massive partydance vibe throughout, be it from the frantic riffs of Frank Lero and Ray Toro’s mash-up of different styles that make up Vampire Money or Planetary Go! which feels it could belong on a clubland mix. The biggest response of the night goes to the material off The Black Parade, to which the genuinely chilling vocals of Cancer makes your hair stand on end, but it was Welcome To The Black Parade that was to be the set

highlight. There was genuine emotion being emitted from stage and there wasn’t one person in this arena who didn’t sing back showing the love in the room. This is what caught me by surprise, just how good a band they are live and the strength of their song writing when it’s just a band on the stage, stripped back from fancy pyro-technics, smoke machines and any sort of gimmicks. Tonight it was MCR with lighting to emphasise the colour the new album represents. This isn’t to say that theatrical sounding Mamma, the angst-ridden Famous Last Words and the brilliantly emotion tidal wave of a song that is Helena aren’t as well received, because they went down a storm, but Welcome To The Black Parade will be one of those moment everyone in that room will remember. Tonight I became a fan and finally understood what MCR are all about — the music. RICHIE SAMUEL Waiting outside the venue my adrenalin rose as we went in! LostAlone were on first and the thing I noticed straight away was how much the guitarist looked like Freddie Mercury! Then The Blackout came on — O-M-G! It was amazing, definitely the best show they have ever played. Spread Legs Not Lies really stood out for me and I’ve been playing it non-stop ever since. Then MCR came on and everyone in the place mouthed/spoke/screamed along to the opening of Na Na Na (Na Na Na Na). After that song I was dragged out of the mosh-pit by the bouncers, nearly knocking out PLUGGED IN’s Darren who was taking pix of the band (sorry!) and managing to touch Gerard Way’s foot! The rest of the night went amazingly and ended with an encore of Teenagers and Bulletproof Heart (my personal favourite). What a gig! CHLOE BEZANT

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Great Hall, Cardiff University As we’re always on the lookout for new contributors to PLUGGED IN, we recently ran another Writers’ Masterclass for budding music journalists to discover some enthusiastic young people to join our reviewing team. The writing workshop was followed up with press access for the group to last month’s Ocean Colour Scene gig at Cardiff University. Only one or two of the participants had ever listened to the band’s music previously, so it was with interest that we awaited hearing and reading their thoughts. The best reviews have been printed here and overleaf.

What a difference a day can make! Just 24 hours previous to Ocean Colour Scene’s gig at Cardiff Uni, American punk rockers Good Charlotte had been setting the very same stage on fire for the Kerrang! Tour 2011. Cardiff Uni’s Students’ Union, a well respected musical venue, boasts an impressive past with a string of well-known acts such as Ellie Goulding performing there. Admittedly I didn’t know much about the band and had presumptions about a group of Oasis wannabes. But, with just one click of a mouse on Google my mind was changed. A quick history and a blast of 1996 album Moseley Shoals and I was pretty impressed and not to mention pleasantly surprised by how many songs I actually recognised from the record. And with Moseley Shoals peaking at No 2 in the UK album charts upon its release it is easy to see why the band dedicated a large part of the gig to this album alone. With such an iconic record as a selling point it is also easy to see why thousands of fans flocked to Cardiff that night purely to revel in classic Brit-pop tunes from years gone by. And boy did they enjoy themselves! Turning up slightly late and fighting my way to the bar I was not paying much attention to the little man stood alone on the massive stage — it was Alarm singer Mike Peters kicking off the night. However, after being inside the hall for about two minutes not even the vodka in my hand could distract me from what I was hearing and seeing. Little man, yes, but one hell of a big voice! Being partial to a bit of the Alarm myself I had been anticipating a good set from Peters, but he really outdid himself in my opinion. With an aura that enticed my complete attention, he worked the crowd magnificently. His voice was on top form but it was his sheer comfort and ease with the stage that impressed me so much. It’s something that you obviously don’t experience with just listening to recorded songs. Despite the rainy evening, and a day that was beyond stressful, my night truly begun with that performance from Mike Peters. For an audience of (dare I say it?!) middle aged adults, the crowd were unbelievable rowdy by the time Ocean Colour Scene rocked onto the stage. From that first insanely catchy riff of The Riverboat Song the place just went bonkers. Half empty bottles were being thrown in all directions and grown men sat on the shoulders of friends to get a better view. Half fearing that I would be wiped out by a beer bottle to the face, I cowered by a pillar for protection. Songs like The Day We Caught The Train and The Circle were belted out one after the other in an explosion of good music and colourful lighting. A notable moment came from the band’s performance of 1999 song Profit Of Peace. A song so catchy that if you were one of the few people there who didn’t already know it, you certainly did by the time the track drew to a close. The audience, arms raised in the air, joined in for a chorus of “hey we don’t wanna fight no more” in a display of passion and emotion. Guitarist Andy Bennett contributed a solo number to the gig which appeared to go down well with the ever excited crowd. On the whole, OCS’s gig at Cardiff proved to be a night of great enjoyment for people young and old. Singer Simon Fowler’s vocals were wonderfully polished, a credit to the experience and talent of the band. Every face that left the great hall that night was either smiling or still singing! ROBYN KENNEDY As I came in through the doors of Cardiff Uni’s Students’ Union the music I heard was

reminiscent of a 70s art house film, thankfully this wasn’t the opening act. Mike Peters of Alarm fame walked on stage to a warm greeting from the crowd. He performed an acoustic set, a mixture of solo songs and some of the Alarm’s classics. Most notably 68 Guns and The Bells Of Rhymney, a song made famous by The Byrds adapted from a Welsh traditional poem by American folk singer Pete Segar. This song has been a firm favourite with the Alarm’s Welsh fans since the early days, as it name checks local towns — and this night was no exception. Peters performed an excellent set which cemented his reputation as one of Wales’ top musicians and really warmed the crowd up for the headliners. Ocean Colour Scene entered the stage to thunderous applause from the crowd who had been whipped into a frenzy by the Mod club classic, Green Onions by Booker T & The MGs. The guys played the whole Moseley Shoals album, starting with the Led Zeppelin influenced Riverboat Song, closely followed by a fantastic rendition of their classic Day We Caught The Train. They followed the order of the album to a tee, much to the appreciation of their fans who sang along to every word with gusto. They finished the set with a rousing rendition of Get Away, and after a quick “tea break” the band returned performing some more of their well-known songs such as Travellers Tune and Hundred Mile High City which showcased Steve Cradock’s virtuoso guitar playing. Simon Fowler performed some acoustic songs again ably supported by their loyal fans. For the final number South Wales’ own Andy Fairweather Lowe from classic 60s Welsh band Amen Corner joined the band on stage to perform the classic Beatles song Day Tripper leaving the audience on a high as the lights came up. Ocean Colour Scene proved that after 22 years they are still a force to be reckoned with. Happy Anniversary Moseley Shoals — an amazing show! LIAM JONES Kicking off the Moseley Shoals album tour, Ocean Colour Scene did not disappoint on their visit to Cardiff’s Students’ Union, with a packed venue filled with die-hard fans of the early Nineties Brit-pop band. The night soon began with their fantastic supporting act, Mike Peters (The Alarm) who played some of his well-known songs which included Who’s Gonna Make The Peace and 45 RPM. He was an instant crowd pleaser, playing the harmonica and guitar giving a country edge to his upbeat rock songs. Free spirited Peters interacted with his fans and talked about his success of raising money for his cancer charity by organising Rhondda Rocks. “Give me love, hope and strength” echoed through the crowd, earning him a massive applause and even a few appearances from some cigarette lighters in the air! After the exit of the amazing Mike Peters there was, if possible, even more people squashed into the tiny, sweaty room. There was a range of fans, with some young, some old, but it consisted mostly of men and women in their forties. After a short wait, the fabulous Ocean Colour Scene entered the stage and began their show, but not without a huge welcome from Cardiff’s biggest fans! All I have to say is one word: ‘AMAZING!’ — and that was only one minute in! The first half of their set consisted of songs only off their album Moseley Shoals, such as The Day We Caught The Train and The Riverboat Song, songs which reached Top 10 in the UK charts, with the album reaching No 2 in the album chart. Their songs were upbeat and full of energy, with an intense bass and mellow guitar, this band could not have gone

wrong. And being around for more than 20 years you’d expect these boys to be a little out of touch, but that was not the case! They are still going strong, and still as impressive as they were in the early Nineties. It really was a pleasure to be at such a great concert, Ocean Colour Scene were as friendly as ever, wishing happy birthdays and congratulating people on their weddings! (What gentlemen!) There was not a song I didn’t enjoy! It will always be a concert to remember, and having never seen them live before I was surprised at how well they performed, they were probably better live than on CD! If I had to rate the concert as a whole I’d give it 10/10! Just perfect. BETHAN TURNER An English Brit-pop band that was formed in 1989, Ocean Colour Scene today are admired as one of the greatest bands in British music history. After 21 successful years together, which includes 19 Top 20 singles and five Top 10 albums, there was no wonder that Cardiff Uni’s Students’ Union Great Hall was full to the rafters, the excitement increasing in the room, awaiting these legendary heroes. The famous Welsh singer, Mike Peters, best known as the lead singer of The Alarm took to the stage as OCS’ support act, to an uproar of cheers and admiration. With his acoustic guitar and harmonica, Mike kicked off the night with the beautifully mellow single I’m So High, pure feel good, urbanesque music, which warmed the room with the gentle ‘hum’ of audience singing along. Imagine an urban Summer festival, with the sun setting and flames licking on the fire, and that’s the atmosphere that engulfed the room as he sang a more upbeat tempo Who’s Gonna Make The Peace, which led me to spot a 40-something couple embracing each other, feet tapping to the beat. I quickly realised that Mike’s music rejuvenates the soul and ignites the excitement of everyone present in the room, with varied melodies and beats. However hard I tried, I could not spot a single note that Mike dropped during his whole performance, his music is rustic, yet clean noted and perfectly pitched. Enjoying a constant interaction with the audience, the barriers dissolved and he was one with everyone present. Mike is a truly admirable musician, a co-founder of the Love Hope Strength cancer foundation, his own battle with cancer pushing him to help raise over £60,000 in order to help people in the Welsh valleys, you can see the pride in his face as he sings Love Hope Strength, the song dedicated to this battle, and the room swells with pride along with him. Tears were visible in the eyes of the audience, arms in the air as he sang from the soul. It’s clear to see that music is Mike’s passion, and the songs that he sings appear to bring reassurance and support. A truly remarkable musician, he well and truly paved the way for the highly anticipated Ocean Colour Scene who exploded onto the stage with a roar from the audience. It hit me instantly how vocally brilliant this band was, a true credit to the British music culture with upbeat songs that were lyrically sound time after time. The band

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had a powerful sense of togetherness and unity, and even after so many years together, still a fresh passion for the music that they sing. The Riverboat Song had the majority of the audience singing along, and having the atmosphere of a fresh band it is nothing more than pure credit to the guys who got together in 1989 spreading a music revolution. Introducing simplistic instruments such as tambourines and maracas helped the transition from their first half to a fiery excitable second half. Looking around the room at the hundreds of passionate members of the audience, the realisation of the admiration that there is for this band is truly incredible. The atmosphere is warm and the sheer variation of the crowd proves their success, with people of all ages, ethnicities and sexes, this band has music suitable for all, and I start to wonder the sheer volume of memories that have been revisited tonight by their music. OCD came to Cardiff as part of their tour to celebrate the Moseley Shoals album, and they breathtakingly sang it in its entirety. A truly great live band that will continue to unite crowds through real music. ALESHA WILLIAMS The Great Hall has always been a favourite venue of mine and I must say I was a little surprised to find it quite empty as I arrived on the night. The few people that were present were middle aged and balding. But after about half an hour of sitting around listening to some kind of jazz in the background the room seemed suddenly quite crowded and then it was time for the first act, Mike Peters of The Alarm. He did a lovely acoustic set with some soulful songs and he really engaged with the audience with everyone singing along to a song containing Welsh town names. After a short interval the 90s Brit-pop band Ocean Colour Scene took to the stage to preform their album Moseley Shoals from start to finish. The Brummie band were bursting with energy and the crowd were singing along merrily. There was an abundance of “dad” dancing going on and everyone seemed really engaged with the band. They did beautiful renditions of the songs Pirates & Policemen and The Circle and the audience were all singing along with the hits. After about 20 minutes or so the pace slowed down slightly as the band played some of their less famous songs, but never the less the audience still danced (badly) to the bands melodic tracks. There was another interval after the band finished their first set and by then the hall was bustling with sweaty people. When the band reappeared to play some newer material the audience seemed to calm slightly as the unknown haze of music drifted over them. I did think that two sets is slightly too long, but I’m sure some of the more enthusiastic fans would disagree. All in all the band were still impressively refreshing and enthusiastic and the gig was a resounding success with the fans. CISSY DALLADAY Ocean Colour Scene announced their February tour to celebrate the famous Moseley Shoals album. The band has been together an amazing 21 years with many achievements to their name. When I received my tickets, I was told they were ‘gold dust’. Suspiciously, I took them,

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and wondered to myself whether they would be able to live up to the hype surrounding them. Once inside, I eventually managed to force my way near to the front — receiving angry rebukes from other members of the crowd. Before anyone had the chance to do me any serious harm, the lights behind the stage suddenly illuminated the crowd. We were cast in a golden haze and luckily any thoughts towards me vanished as Mike Peters commanded the stage. There was silence as every face in the room turned to stare. Mike’s use of a harmonica added an archaic touch which, combined with the guitar, created a simple yet effective sound. In my opinion his main instrument was his voice, which even got the bouncers dancing! The tension and anticipation soared as we waited for the main attraction. The stage faded into blackness, illuminated by faint blue hues. Then, a drum beat began and Ocean Colour Scene strolled casually onto the stage with the ease of many years experience — taking the crowd’s monumental and emphatic cheers in their stride. A deafening base note begins, triggering an eruption of chaos from the crowd from which I barely escaped with my notebook intact. A single note set the crowd cheering. The pumping beat vibrating through the air created a surreal atmosphere. Intertwined with the roaring singing of the crowd, it was hard to imagine anything else existing beyond the pure power of the music. It was a wonder that such a force was contained by bricks and mortar alone. The music was powerful, filled with emotion — visible on the faces of the band members as they played. Interspersed with the occasional softer tone, the gig had something for everyone. Personally, I think this is the only way to listen to music — live. You can feel the beat vibrating up through your body, see the lights pulsing in time with the music. Most of all, you can understand the passion and spirit of the music. Looking back, I can truly say that the tickets were worth having — gold dust indeed. JAMES WILCOX Arriving in the Great Hall at Cardiff University’s Students’ Union at approximately 7.18pm, I had no idea what to expect. Shamefully, I had neither heard of Ocean Colour Scene or Mike Peters before that week (I blame my age), but knew that my 28-year-old brother was extremely jealous. The venue was worryingly empty when I arrived, but as the doors had only opened at 7pm, I quickly reassured myself that it would soon fill up. I contemplated getting some refreshments, and was faced with dozens of posters telling me that hot-dogs were £1.50 and that three bottles of Fosters were on offer for £10 (not a massive saving considering that they are usually £3.50 each). I consoled myself with a tap water and found a space near the front, towards the right of the stage. The venue soon filled up and consisted mainly of 30- 40-yearolds; obviously fans of OCS since the early days (some of which were wearing the same outfits as they were back then — the words “fashion” and “victim” tended to spring to mind). The excited, already partially-drunken crowd, applauded loudly as Mike Peters began his set. To those unfamiliar with Mike Peters, lead singer of 80s rock band The Alarm, think 50-year-old exrocker with Rod Stewart-style peroxide mullet. However, I was completely in awe as Peters sang whilst playing both the harmonica and the guitar, wondering how he had so much breath, like a brilliant one-man-band. His mellow, husky sound was slightly repetitive yet utterly irresistible and created a chilled-out atmosphere with audience members swaying along to the music and gently tapping their feet. 45 RPM,

One Guitar and 68 Guns got the crowd singing along, whilst The Bells Of Rhymney got a few cheers from the predominantly Welsh audience. If the atmosphere was warm-hearted for Mike Peters, then it was as hot as a summer’s day in Sydney as Ocean Colour Scene took to the stage. Undoubtedly their most well-known track The Riverboat Song blasted out of the speakers as the crowd went wild, their foot tapping transforming into explosive dancing, hands in the air as they sang along with every word. The gig was like an intimate version of Oasis at the Millennium Stadium, with OCS feeding off the electricity of the crowd as much as the crowd fed off them. The hour-long Moseley Shoals set was kept exciting by the introduction of alternative instruments such as maracas and tambourines by lead singer Simon Fowler. Impressively, OCS began their second set after a bare 10-minute interval (which consisted of a casual cuppa according to Fowler — take from this what you wish.) The set was a compilation of the bands’ best hits and a memorable crowd-pleaser was Profit In Peace, taken from the 1999 album One From The Modern. Although slightly slower than previous hits, it did nothing to change the captivating atmosphere exuded by the crowd. The psychedelic strobe-lighting was truly captivating, whilst the blasting sound system got my heart beating along in time to the music for that truly unique live music experience. Ocean Colour Scene’s Brit-pop genre may have had its time, but you should try telling that to the 1600 fans who turned up on Friday night. Anyone with tickets for the remainder of the sellout tour are in for a real treat! ELLIE WOODRUFF The venue was a good choice for the night’s performance as a generous crowd age 25+ occupied the hall to its full capacity. The show was opened by Welshman Mike Peters with a simple atmospherical acoustic set. It was a casual affair compared to how some fans might remember the rebellious front man of The Alarm, but never the less he was a good choice as an opening act. The stage glowed a florescent blue as Ocean Colour Scene took to the stage. They opened their set with their 96 single The Riverboat Song with the distinctive baselines and guitar riffs allowing the fans to scream their lungs out and kick the evening off with a bang. Second song of the night was The Day We Caught The Train, the drums played by Oscar Harrison kicked off the song with the stage lights flashing to the rhythm of the drums like the missing flashes of the paparazzi. Fans roared in response to Simon Fowler with a display of “Woah la, la...” Simon seemed lost in the sea of voices as they sung back to him. The band and the audience were having a killer time, as both the bassist and guitarists bobbed in time. Then Simon took a back seat at the beginning of the second set allowing Andy Bennett to sing lead on the song Saturday. This was an unexpected twist to the evening as the atmosphere was vibrant and electrifying with a change in vocals. During the performance of Profit In Peace I witnessed a middle aged woman call over a technician suggesting he give her number to the band — I was bemused at how they could still have this effect on women after 22 years! As the evening came to a close the band left the stage, leaving the crowd roaring for more. The night’s performance was one of the best I’ve seen, with the set-list revisiting tracks from 10 albums. The vocals weren’t muffled and the notes were clear. Ocean Colour Scene know how to bring a crowd together and put on a breath-taking performance with over 22 years experience, these guys are a must-see live band. JAMIE-LOUISE HOWELLS

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Newport Centre

anic Street Preachers stormed through the Newport Centre with a stunning set spanning their entire career and proved they are as crucial to the 2,000 devotees in attendance as ever. Emerging under the stage lights to the majestic strings of Silver by their beloved Echo & The Bunnymen, the band give a quick greeting before launching immediately into a frenzied version of You Love Us. And judging by the buoyant crowd’s reaction it’s obvious the Manics mean the world to the fans crammed into the sweaty confines of the venue. The song is a great choice as an opener and demonstrates that despite reaching middle age, the three-piece still possess the same anger and fire in their bellies as they always did. There is hardly a second to catch your breath as frontman James Dean Bradfield strums the opening chords to Your Love Alone Is Not Enough moments later, and maintains the heady momentum. The singer further endears himself to the army of support by remarking how nice it is to be home, and dedicates an immense version of Motorcycle Emptiness to the fans who came to see the band at the city’s music venue, TJ’s, way back in 1993. And it seems as if not a single day has passed since then with both Bradfield and beanpole bassist Nicky Wire perfectly pogo-ing and pirouetting around the stage throughout the timeless classic. The new stuff is also well received, including latest chart hit It’s Not War Just The End Of Love, and three other tracks from Postcards From A Young Man — the highlight of which is Some

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Kind Of Nothingness, which is surely an ideal choice for the next single. There’s certainly something for everyone in the setlist with plenty of old ones for the hardcore, glammedup fans down the front (Roses In The Hospital, La Tristesse Durera and This Is Yesterday) and the hits for the casual listeners at the back (Everything Must Go and Tsunami). And though the band may not be used to playing such small surroundings in recent years, the intimate feel of the gig really offers you the chance to see them up close and personal. This often comes at the expense of the potential spectacle offered by larger venues — big screens and flashy lighting — but not this time. The stage set is simple but effective, featuring a glittery pink backdrop and a trio of glamorously muscled statuettes decked in feather boas and clutching guitars. And the band look equally attractive themselves, especially Wire who wears his best Bet Lynch leopardskin coat before returning for the second half donning a green Libertines/Sgt Pepper-esque jacket, topped off with a sailor’s hat. But the undisputed star of the show is Bradfield himself, and this is never more evident than in his solo acoustic spot mid-set. First he offers a beautiful note-perfect rendition of Small Black Flowers That Grow In The Sky, his voice cracking with emotion throughout. Then he has the entire audience eating out of the palm of his hand with a fist-pumping interpretation of You Stole The Sun From My Heart. His stage presence is every bit as commanding armed just with an acoustic

guitar as when his bandmates are around him. It’s not until Bradfield lets the crowd sing a line and then comes back in himself, that you realise what an astounding voice and range the titanic-lunged singer has. A venomous version of The Masses Against The Classes really brings out the trademark rasp in Bradfield’s voice, but later he hits all the high notes on If You Tolerate This Your Children Will Be Next. The sound of him delivering blistering guitar solos with shirt-sleeves rolled up (like on Faster) is equally awe-inspiring, whilst the silhouette of him riffing away on Ocean Spray as the light show goes into overdrive is also a lasting image. Just like any homecoming gig, there is a little extra emotion attached to this tour date. And it’s touching that after all these years, you still get the sense that the band are friends first and foremost. Prolonged, tonguein-cheek introductions of each band member are scattered throughout the show, but the most poignant moment is when Bradfield dedicates their early single Motown Junk to lost bandmate Richey Edwards — gone but never forgotten. Leaving the stage once again to the sound of the Echo & The Bunnymen (The Killing Moon this time), the Manics prove they have always remained loyal to their roots and their influences. “We are the Manic Street Preachers, we came from Blackwood,” said Bradfield before launching into the epic curtain-closer A Design for Life. The boys have gone a long way since those early days of playing locally, and what an incredible ride it’s been. NEIL COLLINS

Crystal Castles

Great Hall, Cardiff University After a surprisingly quick wait outside, I entered the venue not knowing completely what to expect but full of anticipation. To kick off an exciting night The Vaccines took to the stage and played an energetic set filled with infectious indie-pop tracks, such as the catchy and quickpaced Wreckin Bar and If You Wanna. The indie/alternative rock band’s singer Justin Young gave a peculiarly cavalier performance giving a vibe of A) ultimate cool or B) what some people would describe as ultimate arrogance. I thought they were great openers for this year’s NME Shockwaves Tour. Next up was the alternative rock band Everything Everything, who made an impression by playing extremely fast-paced techno songs while fully clad in grey boiler suits. The synths took presidence in their performance and songs like MY KZ,UR BF brought the crowd to a bounce. This lot had a very distinct sound, mixing catchy riffs and super fast vocals. I definitely couldn’t keep up with the lyrics, but none the less enjoyed their slightly odd performance. Third to hit the stage was dubstep superstar trio Magnetic Man. The three men slinked on stage and stationed themselves at their macbooks ready to impress with the help of an MC. Never until then had I heard any dubstep, and my opinion on dance/electronic music on a whole was

about to change drastically. As the lights went out and they started to play, the atmosphere changed as the bass began to blast. The crowd was now on edge, excitedly waiting to hear some of the finest and most delicious music. From start to finish the performance was not short of strobe lights, and the speakers boomed as MM played a mix of original tracks and live remixes. It was hard to stay afloat in the sea of jumping bodies. The atmosphere was electric, the bass infectious and I have never jumped around so much in my life. After the dubstep super group finished, headliners Crystal Castles came on stage, picking up where Magnetic Man left off with spinetingling volume. An energetic set was blasted out to the crowd of indie teenagers awaiting it with baited breath. Alice Glass brought a post punk kind of feel to her performance — despite being on crutches after recently breaking her ankle at a show in Tokyo. Crystal Castles played internet hits such as Alice Practice and my personal favourite Crimewave. Again the strobe lights were no stranger, and the crowd moved around with an overall feeling of euphoria. Crystal Castles excelled at creating the sound and feel of some sort of old school arcade game on acid. An exciting night, the bands did not disappoint. McKENZY RENVAL-VALIQUETTE

Paul Weller

Motorpoint Arena, Cardiff The modfather is back with a multi-award-winning album Wake Up The Nation, so when I heard he was to play Cardiff, it was on my list of must-see gigs. I hadn’t seen Paul Weller for absolutely years, in fact it had been The Jam’s last ever tour back when I was just a teenager so tonight’s performance was the first time I was going to be able to compare what age had done to the man. Paul Weller was one of the songwriters who alongside Joe Strummer of The Clash had spoken to me and related to my life, unlike the prog rock of bands like Genesis and Rush that was being banded around by my peers at that time. His words were about my reality. Support on the night came from The Bees, who took to the stage in a true Mexican trupedor style. They came over more rock than on their latest album, the excellent Every Step’s A Yes, but with a hint of joviality about their songs. Multi-tasking on a variety of instruments was interesting to watch, while the harmonies were a cut above the norm. I Really Need Love ended the show — a true bouncy number for everyone to enjoy and a good prep for Paul Weller who hit the arena like a rising storm to an appreciative crowd of 20-, 30- and 40-somethings (me included, unfortunately at the latter end of the scale). Still we know what a great god of a songwriter the man is — it’s his lifeblood. Craggy-faced Weller came on to Shine and continued through a storming set of hit after hit — 22 Dreams, Be With You and Eton Rifles. This classic Jam number was played with a blaze of red, white and blue lights flashing around the arena — the place had never looked or felt so English, with the crowd screaming along with the chorus! With sweat pouring off the man, he was captured by the two large screens either side of the stage, as he played a great guitar solo on Until Tomorrow. Next up was new song Paperchase showing that the man never stops producing, then Aim High off Waking and on to No Tears To Cry. Bashing away on his tambourine he sang Shout To The Top a Style Council song that Gail and me used to dance to at college many moons ago! Looking around I couldn’t help but notice the Paul Weller look-a-like singing along in front row, complete with grey mod-mullet, an example of the man’s effect on people’s lives. A psychedelic light show of swirling circles accompanied My Bright Star

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and Pieces Of A Dream which also had some Doors-like organ playing and harmonised vocals. The new album’s title track Wake Up The Nation harked back to The Jam’s school of musical style, and why not! This was the man who created that school. Fast Car, Slow Traffic was a tearaway guitar number of pure passion which was followed by Pretty Green, another Jam classic. But it was when he played the Jam No 1 hit Start! that the whole arena exploded into a complete frenzy with a lot of old blokes dancing dad style. Round The Sun was played with a big glowing red ball on the screen in the background accompanied by a banshee wail of screaming guitars, while yellow lights swung over the audience piercing your retina with their brightness. Leaving the stage to a feedback of guitars, the modfather had entranced us all with an amazing performance. But of course he came back on for an encore and I personally wanted more which I got as he played Andromeda, Pebbles On A Beach and then In The City — the title track to The Jam’s first album and one of the first albums I ever bought and played incessantly. A second encore and we got his solo classic You Do Something To Me and another amazing Jam classic, Butterfly Collector. Changing Man ends the show and I’m exhausted. I heard afterwards that some people were disappointed because they wanted more of The Jam and less of Weller’s solo work but those days are gone. It was about 30 years ago that I saw those final Jam gigs and a lot has happened in Paul Weller’s musical life since that point. What Paul Weller gave us was a true run down of his complete repertoire and I for one wasn’t expecting anything more. What I got was a hell of a lot more! Mr Weller is simply one of the lost great songwriters of the UK. Everyone seems to be harking over people like Elton John and Paul McCartney who seem to spend more time advertising themselves, or those X-Factor karaoke singers who can’t actually cope with the fame they suddenly receive and can’t provide us with new and original music. Paul Weller gives us what true Brits are all about — grit, determination and a sense of angst that shows our abominations of the corruption that pervades our society. He is a social realist whose feet has stayed firmly on the ground. This concert was a testament to that man — and was excellent for it. DARREN WARNER

Jean-Michel Jarre Motorpoint Arena, Cardiff

Now I’m showing my age when I say I remember Jean-Michel Jarre’s live performance in The People’s Republic of China, the first Western act ever to be allowed to play there by the strict regime of the country at that time. Jarre, the cool enigmatic French composer, swept across our TV screens greeted by thousands of polite clapping uniformed natives who almost broke into a riot of applause by the end of the two-hour concert. Little did we know that this taste of Western music planted the seeds of potential revolution in the minds of the Chinese people and opened a door that even allowed Funeral For A Friend to grace the country a few years back. But bringing this review back to surface level rather than deep political analysis, I’m much older now and when Jean-Michel entered the vast Motorpoint Arena (still the CIA at this point) from the back of the auditorium walking through his audience, shaking my hand as he passed by, I noticed that he looked bloody good for his age. In fact too good…putting me to shame. Once in place behind his massive bank of synthesizers the man got down to work, kicking off the event with the instant crowd pleaser Oxygene Part 2, one of the tracks from his third electronic opus of the same name that was a soundtrack to many a 70s TV documentary, before he moved up the years and included numbers from Magnetic Fields and Equinox as well as the later Teo & Tea and Chronology. Jarre has never really been into titling his electronic themes separately, just calling them parts 1 to whatever, after the album title — regarding his music as electronic classical symphonies that are accessible to all, a trait he probably learned from his estranged father, the great classical film composer Maurice Jarre (watch David Lean’s movie Lawrence Of Arabia to hear some of his work). The performance was also delivered in a classical style which, other than the odd waving of his hand in the air during beat breaks and a few French-toned thank yous, he played his keyboards with the ferocity of a great piano vurtuosa, while the stadium-size screen behind him took the audience on an animated journey through the insides of the keyboards that he played. Yes the performance was static compared to My Chemical Romance, whose lead singer Gerard Way runs about the stage, or James Dean Bradfield waving his guitar like a flag-bearing Welsh rugby supporter, but it was appropriate and exciting — and most of all spellbinding and perfectly performed. The fact that the arena was packed proved that electronica was still popular here in the capital city and, though I must admit I had my reservations about the ticket sales for Jarre’s performance, I was proven wrong, totally. Excellent show! DARREN WARNER

Jayce Lewis

Millennium Music Hall, Cardiff

The Twang

Millennium Music Hall, Cardiff The Twang has had their fleeting moment basking in a pop paradise. The Midlanders did have a brief commercial kudos and since then it has been back to the hard graft of recreating a formula that could replicate their ephemeral dalliance with fame. The lads have obviously gathered a loyal fan base because the core of a Cardiff crowd was responsive to a sound that is largely caught in a stuttering groove. It as if The Bluetones have united fragments of Madchester and then called in The Edge to offer a guitar icing. The Twang revels in their delivery but to the layman this is not ‘Wide Awake’ wizardry but just a drab dose of aural amnesia! The end of gig report card reads, ‘Could do better, but it may be too late!’ ROB JONES

Halloween! That perfect time of the year for a special live moment which I anticipate with hope every year — as well as great moments of fancy dress from the crowd: the definition of surreal is when you see a Bo Selecta! Michael Jackson tearing it up with a bloke dressed as a giant chilli pepper! Halloween! When I hope that something magical will happen again. And it did when I heard that Jayce Lewis was performing his worldwide album launch for his self-titled debut album (read our feature on the man in PLUGGED IN issue 10 — downloadable for FREE from the website). A pretty much packed upstairs room was full of people anticipating what Jayce Lewis would bring back home to the Welsh music scene after his triumphant tour of Asia. What delights awaited us, with the stage set up so big and unique for such a compact venue? When the lights dimmed, the house music turned off and Jayce’s band took to the stage, the atmosphere was set for the man himself to come to the forefront of the stage and hit the mini drum set at its centre — and he did, proceeding to pound it hard, fast and furiously. Jayce wearing his trademark white Michael Myers/Jason Voorhees style mask came to a sudden stop, followed by a stand still gesture which signalled the start of a jaw-dropping pyrotechnics display — taking us all by surprise! It was like we’d been flash-banged on Call Of Duty! With a full pyrotechnical display throughout the show, and Jayce’s unique music that is pushing the boundaries of the dance-rock/industrial music genre (reminding me of Innerpartysystem mashed up with Metallica except with the BPM turned up!) this was a show made for Halloween! Opening with current single Solitaire he smoothly moved onto other tracks from the album including, Electric Medicine and standout track of the night Icon. Jayce casually switched between drumming, playing guitar and commanding and rocking out with his mic stand so well, it was hard to take your eyes off him — with the added swirling visual displays hypnotising you into the whole set up and the jaw-dropping fireworks going off left, right and from the ceiling. Make no mistake, Jayce Lewis will be on my list of live artists to see again — and again! Do not miss this guy live! RICHIE SAMUEL

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Broken Peace

Parc & Dare Theatre, Treorchy The stage is full and the sound is amazing with hundreds of students singing the Broken Peace finale chorus over and over. Martyn Joseph’s voice looms over the top as he is surrounded by this throng of young people from the Rhondda Valleys. He looks proud and overjoyed. The feeling of having so many people singing the songs he has created must be an amazingly wonderous moment. This is what Broken Peace is all about, bringing people together, performers, musicians, audiences and even myself and my team of student photographers. Music might not change the world, but one thing it does create is unity. The wonderous thing about music is that it opens all sorts of doors of experience for a variety of people. With the performance of Broken Peace at the Parc & Dare Theatre in Treorchy students of two secondary schools within the Rhondda Valley got the chance to work with legendary singer-songwriter Martyn Joseph on a production based on the experiences of the Tonypandy Riots over 100 years ago. What Martyn got out of it, in his words, is: “I’ve travelled the world, played in South America, the Royal Albert Hall, worked on projects with Christian Aid. But this is one of the best experiences in my life. Hearing the students singing my songs, performing on stage with them…” The tear that has welled in his eye is genuine because Martyn Joseph is a truly genuine kinda guy. There was to be four performances of Broken Peace over two days, alongside the release of the accompanying album which was a collaboration to the 10th degree. Alongside Martyn there was over 15 members of the choirs of the two schools, plus an additional 15 musicians — and if that wasn’t enough they were to be joined by over 100 voices from the neighbouring primary schools in the area for the performance’s finale. A logistical nightmare, but a true collaboration of all forms of talent. I’d been attached to the project working with two young students on photography for the CD artwork, so had not just become familiar with the songs but the process of recording and building the voices and music into a final product. Of course, for someone like Martyn this process was part of his life, his job. Since his first recording in 1983 he has produced 16 studio albums, 10 live albums, a compilation album, as well as a number of collaborations aside from Broken Peace, including Patrick Jones’ spoken word album Tongues For A Stammering Time (reviewed in PLUGGED IN Issue 7). This is one amazing back catalogue, so how does he manage to be so prolific year on year? “If I stop, the money runs out. I’m not one of these super rich pop stars, but I make a decent living from my music if I keep going. That means touring, album, touring, and so on. There is so much to write about that it’s difficult not to find an angle that works for me and my opinions. With Broken Peace, I initially wasn’t sure whether I was the right man for the project. Writing one song on a subject can sometimes be a problem, a set of six songs about one particular event — well I thought that could prove an impossible task. But by tackling the subject as if written from different viewpoints it seemed to really make so much sense. Away is the viewpoint of a miner’s wife, while Line Of Duty takes the viewpoint of a police officer and Twelve Years Old addresses the riots from a child’s eyes.” Martyn’s songs often focus on social injustice and protest, so I needed to ask him if he ever believed that they made a difference. “Never a difference as such. Songs don’t change the world in an instant, but can direct people to a certain way of thinking. They can highlight a cause and maybe by that action alone people will reconsider their own views.” Is there a lack of protest in today’s society, to the scale that we saw during the Tonypandy conflict? “Protest has been numbed by wealth. When you have nothing, you have nothing to lose. People aspire to so many things nowadays that they can become selfish and don’t want to lose what they have. Very rarely will a protest song cross into the popular charts, in fact the only real protest singer to have made an impact is Bruce Springsteen — Born In The USA is a great protest song just taken the wrong way.” Do you think your Welsh heritage is a driving force for your creativity? “Not in the flag waving way, but more the struggle that the Welsh people have had to endure. It wasn’t until in my Twenties that I began to foster a need to learn more of the history of Wales. Learning of the how and why of the struggle of my people led me to a new place of pride and understanding not only of Wales, but myself. With this project the students have gained a part of that understanding a lot quicker than I did.” And what of the students who have worked next to him? “A fantastic experience. There is so much overlooked talent within these valleys. One of the songs I wrote was supposed to have a folksy style to it. I sent the demo to Andrew Griffiths, the musical director who was working with the students while I was touring in America, and came back to find that the students had Manic-ed it up into a full-on rock number. I would never had personally envisaged the song that way, but they added a true raw feeling that you couldn’t but love the interpretation.” So what can you advise the rising talent of today? “Believe in yourself and be true to yourself. If you are honest to yourself you will find the belief that you need to forge a career in whatever path you take yourself along.” A century ago the miners of Tonypandy fought for their rights of a decent survivable wage because they believed that it was the only way forward left for them. That forward motion is still within every person who is prepared to take those steps. All you have to do is lift your legs. A true ethos for life and an ethos wholeheartedly followed by this magazine. DARREN WARNER

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Clwb Ifor Bach, Cardiff The 90s in British music culture is remembered fondly for the emergence of what was dubbed Brit-pop by the media — throwing up names such as Oasis, Blur, Suede and Pulp. Well for me these great names were a pathway into my music education, and on a frosty and bitterly cold winter’s evening I made my way to Clwb Ifor Bach to meet up with some unsung heroes of that era, The Bluetones. Sitting at a table, while the merchandise was being unpacked, the sound guys setting up and then the band giving a sound check, I couldn’t help but wonder what I’ve missed out on for all these years. With a musical CV that packs a No 2 single alongside 12 other Top 40 UK hits, a No 1 album and four Top 10 albums overall, it’s hard to say that you can’t be impressed, as one of their own t-shirts on the merch stall aptly describes, Sh*ting hits since ’96, which refers to their No 2 single Slight Return. “We weren’t all hanging out in cool parties or anything like that,” states Mark Morris, front man of this four-piece. “The whole Brit-pop thing was just labelled by the media, as a way of selling music.” Mark, clearly a veteran of interviews, must tire of these questions constantly being asked about the ‘Brit-pop’ era, but for me it was a piece of my musical culture being filled in right in front of me. The Bluetones are, sadly ,no longer in their hey-day where world tours and major global festival slots beckoned — Mark recalls “seeing the Aztec pyramids” as his fondest memory of touring the world. The band started out with Fierce Panda Records, which always has a habit of picking up and launching bands into stardom, see Coldplay and PLUGGED IN Issue 8 cover stars The Blackout as two modern day examples. Since then the band have released a new album (their sixth), A New Athens, on their own label CIA Recordings. Mark said the recording process was different to the others. “We all worked separately from each other and sent parts of the tracks in, as opposed to the usual way of recording by all meeting up in the studio and thrashing out song after song.” Being in the industry for nearly 15 years, you would expect to see some changes, especially with new technology, the internet and new ways of marketing bands, but Mark says, “We’re lucky to have a group of fans who have stuck by us throughout the years, who like our music.” Touring for 15 years, you’d think there would be some ground rules for being cooped up together for such a long time. “No, there’s none at all,” Mark firmly states, but adds, “That’s not to mean what goes on tour, stays on tour. There is nothing like that at all.” So what’s it like to play Wales? “We have fond memories of playing here. In some of the remote towns we’ve played it’s been really good, because the whole town comes out as they don’t get too many bands playing there.” Interview over, the boys disappear and I await their arrival onstage for tonight’s show. Openers for the proceedings were The New Objects, whose sound is Manic Street Preachers fused with early-era Muse. Playing material from their free self-titled, Richard Jackson produced ep, the guys played a set that got feet tapping and heads knocking in approval. Main support came from Liverpudlian lads Married To The Sea whose charming, happy and uplifting indie-pop was heaven to the ears, with all band members playing on the merry-go-round swapping instruments and showing their musical talent alongside their delightful song writing skills. So onto headliners The Bluetones, whose fans had been waiting all night for them, came on to a roar of approval. Opening with A New Athens, from their current album of the same name, they dipped into their back catalogue, playing to much delight Autophilia, current single Golden Soul, then Into The Red, Bluetonic, Solomon Bites The Worm and fan favourite Slight Return. All indie rock and to most in the room forgotten classics of their time. All their songs were heart warming and filled you up a little on the inside. If you ever need more of an education in great song writing combined with a great tune then look no further than The Bluetones. RICHIE SAMUEL

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Photograph by Clive Barda

Die Fledermaus

Welsh National Opera Millennium Centre, Cardiff When our community was offered the chance of free tickets to experience an open dress rehearsal of Johan Strauss’ Die Fledermaus with Welsh National Opera, I jumped at the chance. I had never had the opportunity to see an opera before so I thought I go and see what it’s all about — along with 35 other curious people. We heard the story on the way down in the “culture coach” — it’s basically, a man who wants revenge for a stupid prank, with lots of extra-marital hanky-panky, disguises, mistaken identity, one heck of a party and complications caused by too much champagne. All in all, a bit of an entertaining romp, and nothing like tragic grand opera — so a good piece for my first operatic encounter (lots of action, great tunes and not too long). It was also my first time to see Wales Millennium Centre which was even better than the photos. Luckily we had time to explore all the shops and cafes in the foyer before the start of the rehearsal. When the orchestra struck up the overture, the excitement of that full sound came as a bit of a surprise, its joyful waltzes setting the atmosphere for the show which was first performed in Vienna in 1874. The curtain rose on a spectacular set complete with a balcony for a naughty romantic rendezvous between Rosalinde and a saucy tenor (Alfred). The principle characters were completely convincing and comfortable in their roles. Paul Charles Clarke’s “over-the-top” opera singing lover made us all laugh with his amusing renditions of opera “classics” like Go Compare and Just One Cornetto. Joanne Boag was an impressively talented Adele handling her arias with light-as-a-feather vocal grace. Nuccia Focile and Mark Stone were well matched and ideally suited as the Eistensteins, with captivating performances in duets and solos. Maybe the star of the show was the famous WNO chorus who charmed everyone with their pact to brotherly love at the end of Act 2 — a fabulous ballroom scene at the Orlofsky Villa. It was sometimes hard to remember that this was only a dress rehearsal, but we were swiftly reminded as we were rushed out at the end, down the fire exits as we evacuated the building in a hurry. Clearly, WMC staff took this chance to rehearse their fire drills too...and we were happy to help. So next time someone says “opera’s boring” I’m going to tell them to give it a try first before making judgements. WNO’s Open Dress Rehearsal scheme is a great idea as it provides a new experience for people and it helps the company too by having the chance to rehearse with a live audience and test their reactions. Opera may be an acquired taste but I’m up for a repeat visit — next time I may even try one of those grand operas, complete with swooning divas and incomprehensible plots! By the way, “die fledermaus” is German for “the bat” and to cut a long story short, go and see the show for yourself and all will be revealed! ELLA

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Ellie Goulding

Great Hall, Cardiff University After all the press coverage she’s received, could the girl live up to all the hype? Waiting for her to take to the stage seemed like an eternity, but as her poppy chords strike up she comes on with all the pomp that a true pop star carries with her. The slightly-irritating chatty audience seemed to come to life with the fifth song into her performance, hit single Starry Eyes, which finally got them going and clapping along. With her natural ease as a performer, her wonderful vocals and talent at playing the guitar, Ellie Goulding is the sort of act I enjoy watching — especially her recent hit of Elton John’s Your Song. Her performance in Cardiff was enjoyable — though I’m not sure we needed the life story video half way through the set! GAIL GRIFFITHS

Kids In Glass Houses

Great Hall, Cardiff University

Shaun Ryder

Millennium Music Hall, Cardiff

Since the late 1980s the ‘24 Hour Party People’ profile of Shaun William Ryder has offered the media gold! Shaun has had a penchant for excess, success and regress, and ‘The Pills, Thrills and Bellyaches’ antics of the Happy Mondays and Black Grape leader has often clouded his pop powers. Ryder is riding on a career rebirth after his TV exploits on I’m A Celebrity, but what of his musical persona? On stage it can be hit or miss, therefore a Cardiff visit asked whether a 2011 Ryder solo set would be ‘Hallelujah’ or ‘Lazyitis’? The answer was that the Madchester maverick hit a high, and it was Kinky Taffro indeed in the Welsh capital! Shaun bathed in the limelight with his trademark too cool for school, no frills approach. A seven- come eight-piece act with interchangeable vocal accomplices ensured that the Ryder family favourites plus some fresh fare hit the spot. The baggy bounty of infectious dance/rock (with extras) plus off-the-cuff Ryder ad-libs equals entertainment! There was a lot of love in the house and numerous old acquaintances reminisced about those carefree yesterdays as the band relayed the rhythm, a focussed front man flourished and it was ‘Bob’s Yer Uncle’. OK, Bez was absent but Mr Maracas doesn’t affect those towering tunes and their quirky contents. In essence a Happy Monday lit up a cold Friday and a venue that continues to attract calibre turns can claim another credit. Ryder has an individuality and unpredictability that many acts will never register, and the current ‘best of’ release will hopefully kick-start more musical midas! God bless ‘Uncle Dysfunktional’ and we eagerly await the arrival of his new album! ROB JONES

Olly Muirs

It’s been nearly three years since PLUGGED IN witnessed Kids in Glass Houses open this venue for the legendary Super Furry Animals (Winter Wonderland, Issue 2, available to download FREE from the website). Times have moved on and a lot has happened since then, two albums alongside massive national exposure for summer single Undercover Lover, good slots at major festivals, combined with support to their heroes the Stereophonics, LostProphets and Paramore. Not too bad eh? So when their biggest headline tour to date (aptly named Dirt The Musical 2) came steam-rolling into Cardiff we just had to be there! The tone of the evening was set with opening act You & What Army. Imagine the demon love child of Enter Shikari crossed with 3oh3! and you’ve got them spot on! The ferociousness of Shikari’s screaming and heavy playing style combined with the heavy thundering electro beats and deep vocal rapping of 3oh3! certainly produced an interesting set and sound. Lead man quickly nicknamed ‘Dave the rave’ definitely got the party going and gave a memorable performance, all the band certainly appreciated the audience who got behind them and came away with a new army of fans. Main support came from American pop-punkers Boys Like Girls who had a massive following in-house tonight, coming on to a deafening noise of teen females screaming the hall down. Promptly launching into opener Love Drunk, quicker than a falcon swooping down for its prey, Martin flying back and forth on the stage and climbing the lighting rigs. These guys sure know how to put on a show, being massive Stateside helps I suppose. Playing an acoustic mini-set, alongside new single Heart, Heartbreaker and closing with the soundtrack to any memorable summer The Great Escape where Martin stage dived onto the crowd, giving them a chance to sing to their favourite song. A great and highly energetic support act set the standard high, putting the pressure firmly on KIGH to deliver in front of their hometown. The old style red cinema curtains raised, with Kids In Glass Houses standing there in their 50s American-style prom-inspired attire, waiting a little before opening with Sunshine, playing it to a euphoric audience all singing the chorus in harmony. Their set consisted of fan favourites from their current album Dirt such as ArtBreaker I, The Best Is Yet to Come, For Better Or Hearse, Lilli Rose and Hunt The Haunted alongside older material from Smart/Casual such as Saturday, Easy Tiger and Fisticuffs, as well as a semiacoustic Raise Hell which made the hairs on my neck stand up. A clear-cut stand out song of the night for me, I must add. Giving us a taster of forthcoming material with Would, KIGH seem to be heading in the same direction of arena filling songs, it nestles in nicely to their set list and got everyone licking their lips to what their bigger and brighter future holds. KIGH’s light show was something special and different to what I’ve seen before with Aled (vocals) lighting up KIGH letter by letter in typical showman fashion. Their big hitting singles Undercover Lover, Young Blood, Give Me What I Want and Matters At All showed the talent for ridiculously catchy and momentous lyrics, packed with slamming riffs and hooks cemented together with some frenzied drumming. Their punk-pop sound has deservedly allowed them, alongside years of hard work paying their dues in tiny venues across the country, to become the fantastic headliners before us. This being personally my ninth time in seeing KIGH live, I’ve never tired of watching or listening and am highly anticipating the future, as they keep getting better and better as the years go on. RICHIE SAMUEL

Chepstow Racecourse Standing in the pouring rain on a freezing evening in late October, I was wondering if my journey had been worth it. I had seen Olly Muirs perform live dozens of times before from the comfort of my own warm settee. In fact, I had seen him every Saturday night for three months and was devastated when boring old ‘golden boy’ Joe McElderry had pipped him at the post as X-Factor winner 2009. However, it had been a year since I had seen my favourite cheeky Essex chap in action and prior to the ineffective crowd-jeering by over-excited Red Dragon presenters I had been excited. Surrounded by giggly young girls and children in fluffy bunny ears I was starting to feel more than a bit out of place. Olly kept us waiting, though I’m pleased to report that he was worth it. Fans of X-Factor will recall one of his most popular covers on the show was Stevie Wonder’s Very Superstitious and I am pleased to say it was just as good seeing him sing it in the flesh, along with a bit of bum-wiggling and winking to please the screaming girls. Twist & Shout was also a crowd pleaser — though unfortunately for the male members of the audience the girls in the hotpants who had accompanied him on the telly were not present! Olly’s debut single Please Don’t Let Me Go had plenty of singing along by the crowd and This One’s For The Girls was introduced as his new single — sure to be a hit in the charts, judging from the screams coming from his hordes of young fans! Olly’s trademark grey hat was ever-present and whilst he didn’t throw it into the crowd at the end of the set, a female member of the audience did launch an item of her underwear onto the stage! ELLIE WOODRUFF

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Good Charlotte Cardiff University

People have been queuing since mid-morning to get to the front for this gig. And rightly so, as the line up is very popular, with many dates on the tour selling out, due to the bill’s allAmerican line up. As the last of the crowd are making their way into the hall, The Wonder Years bounce onto the stage — unknown to many of the audience, but the few who do know them are belting their songs out along with the band. With a very Blink 182 style of music, they set the pace for this evening. Next on to the stage, are Nashville boys Framing Hanley. As they open with well-known cover Lollipop, there are screams from many of the

girls behind me and a big swell in the singing. After playing lesser-known hits like Stupid Girl and Built For Sin, the singing starts up again for hit Hear Me Now which every teenage girl in the room (including myself) seems to know all the words to. Third on the bill is Four Year Strong. A lot of buzz has been circling the room for this band as I think a third of the audience are here to see this band alone. And as they launched into their first song with the power of a runaway train, so did the audience who didn’t stop the singing for a while. With hits like It Must Really Suck To Be Four Year Strong Right Now and Wasting Time, it was easy to see why. With the audience in good voice, the set was enjoyed by all, and again these Americans seem to have made new fans and given the old ones reason to love them even more. Finally, the main event Good Charlotte

Gay For Johnny Depp Clwb Ifor Bach, Cardiff

After climbing the stairs to the top of Cardiff’s Clwb Ifor Bach, the room seems a little empty for a gig to be happening here but yet the atmosphere is still captivating. First up on stage is a new band. They sheepishly admit that this is their fist gig and are very nervous. Then, unexpectedly, they launch into a hardcore song full of angst, consisting mainly of screaming! Next up Exit_International burst onto the stage and fill the room with their strange mixture of sounds that on their own wouldn’t work, however together, these sounds seem to work in harmony creating individual songs. With hits such as Chainsaw Song and ShermanBASTARDfang they have the audience captivated and moving in time to the music. The Computers are up next and like the first band, they open their mouths and a voice screaming at the top of its lungs is unleashed. But in between the screaming the band have filled their songs with catchy guitar riffs and harmonies that will catch any musician’s attention — such as in their songs Group Identity and Must Try Harder. Finally up on the stage are Brooklyn band Gay For Johnny Depp. With an intriguing range of merchandise, this band has attracted quite an interest from the audience, even if they have never heard of the band before. As I’m told before the show, this could be interesting as the singer has a ‘tendency to strip down to his boxers when he feels like it’. But the band delivers. Their set is brilliant with a noise I came to like throughout the evening. As the band bounce around the stage, I have come to the conclusion that a little bit of screaming within music is good for you. Then my evening is topped by Gay For Johnny Depp doing a cover of Slade’s Come On Feel The Noize retitled Come On Feel The Boize. Night complete! SEANNA FATKIN

Magdan Audio, The Special Editions & Amarette @ The Sweatbox Parc & Dare, Treorchy

Tonight’s the night for the first ever Sweatbox gig held in the Park & Dare. Sound checks go as planned, the clock strikes seven and the crowd come piling in. Slowly but surely everyone makes their way to the bar and then to the front, before they know it it’s 7.30pm and everyone is squashing against the barrier for a closer look at Amarette, a four-piece band from Treherbert. The drummer, bassist and singer outnumber the only male in the band, the guitarist. Amazed by the mixed genre they play, the crowd applaud, whistle and scream. Playing The River by Good Charlotte, this new band is off to a good start, playing Bowling For Soup helps them to slowly entice the crowd in. After such a good start, the next bands can’t possibly do any better right? Wrong. Next, up come The Special Editions, a four-piece band from Treorchy. Their female singer tapes her set list to the microphone, bass, guitar and drums start playing. The singer takes a breath and begins singing a song by The Killers. The crowd go wild and continue to do so for the band’s original song which follows. Such talent. Next they sing a song by the Scissor Sisters, and get the crowd singing like a vibration above the beat — but that’s nothing in comparison to the roar of lyrics coming from the audience when Sex On Fire is played. The audience

are happy and scream and applaud the band. Finally, what the audience have been waiting for — Magdan Audio, the headlining four-piece band from Treorchy, take to the stage! The singer shouted “Hello Treorchy” which sent the crowd wild, and they proceeded to play a set full of original material. The lights, the sound, this band seemed to have it all — and after playing only one song, they did have it all, because they had the crowd as well. The atmosphere was inexplicable. The Sweatbox had a new feel to it, almost like a buzz. No one would have ever believed it was only the Lounge of the Park & Dare, suddenly it had transformed and become an amazing gigging venue. The atmosphere was so amazing that if you closed your eyes, you truly believed that you were in the CIA. Before you knew it the guitarist wowed the audience by stepping off the stage and standing on the barriers. Captivated by this impeccable display the crowd shouted for more. “This will be our last song,” the singer said, and the audience reacted with a big “AWWW” — and with that the band played their final song. When it had all come to a close, one by one the band members stopped playing and left the stage. Then the lights came up and a great night came to an end. DARIAN REES-LEWIS

come bouncing onto the stage, opening with well-known hit The Anthem to get the crowd singing again after their half hour wait. And it does the trick. After following onto Girls And Boys, the audience are in full flow now. In between all the bands hits such as The River and Keep Your Hands Off My Girl there are hints of Welsh pride being shown. After getting a Welsh flag from somewhere, the crowd begins to chant the word ‘Wales’ as if at a rugby or football match and the band fuel this cheering. It is, however, the band’s latest single (Like It’s Her Birthday) and their most well-known song (Lifestyles Of The Rich & Famous) that get the crowd moving and yelling along with the words. All the bands lived up to the hype and expectation of the evening and all performed exceptionally. SEANNA FATKIN

High Demand Kyshera Say When! & Ladies Love A Superhero

Clwb y Bont, Pontypridd All the bands on the bill tonight are up-andcoming and have been crammed into this tiny little venue to try and recruit more fans and make more of a name for themselves. First up are Ladies Love A Superhero, winners of Battle of the Bands 2010 in South Wales. The boys tonight are performing acoustically which really complements the lead singer’s voice. As Mark (lead guitar) strums away effortlessly changing one chord into another, Jared (vocals) sings melodies that have everyone singing along too. When this band usually play their hits like Danger! Alert! Monster!, the guitar is the prominent feature, but tonight it’s all about the vocals. When the band come to play their slower song Too Long, Too Late, Mark’s harmonies kick in showing the full potential of the band. Next up are Say When! who have a problem with the small stage within the venue as there are five of them! But they give a stage performance to remember. The energy coming from this band fills the place in an instant, the sound even more so. The vocals are set upon a base of punchy guitar sounds and bass parts that allow the songs to be remembered in everyone’s head tonight. Third on to the stage are Kyshera — a three-piece that clearly doesn’t care how big the venue or how many people in it, they’re just here to make an impression on whoever is. Throughout the set they bounce around the stage, and the band’s performance tonight will stick in the audience’s head — not just for the songs these guys have played, but for the enticing performance and intriguing stage presence of this band. Finally headliners High Demand who, like Ladies Love A Superhero, are set for big things. This band has a big following within the Pontypridd area and they all seem to have turned out tonight in force to support the band. With tracks like Pushing Me Away having their fans sing along at the top of their voices, as well as plenty of others in tonight’s audience who are pleasantly surprised by what they see. All in all this evening has been an amazing night. SEANNA FATKIN

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Make It!

Attack! Attack!

Tonight saw the bands from the Make It project come together to perform, and while they were playing to showcase the music video they had made through the Make It project. I enjoyed all the bands but my favourites were Sweet Manics, Nothing New and Ladies Love A Superhero. I’m looking forward to seeing what the next Make It Live will be like. STEPHEN BEES

Tonight felt like a celebratory homecoming for Attack! Attack! after their mammouth UK tour, playing their biggest Cardiff headline show to date. After seeing them open for LostProphets in this venue a few years ago and then many a time since, I did wonder if they had the ability to up their game to headline performers — I was about to find out! Show openers Painting Bus Stops opened proceedings: their manly pop-punk sound has the potential for greater things. Up next were Brooke whose cocky, yet charming front man Alexander definitely grabbed your hair and got your attention, thundering through a set with their brand of hard fast paced rock being very enjoyable and well received by the audience. Next on were Colours Of One, whose deep melodic rock sound highly impressed me, playing songs from their debut album and EP. With vocals packing a punch stronger than Mike Tyson, riffs and hooks sharper than a razor blade and drum beats pounding like a march of an oncoming army, this band took the entire audience by surprise! Fourth on were Pontypridd lads Straight Lines, who easily lived up to their recent media attention hype. Dropping in new single Say It For Your Sake along with audience favourites such as Versus The Allegiance and Loose Change, their alternative rock sound smashes down barriers and leaves behind a very slick and stylish sound. Not to be missed live! Main support came from GOX, whose lead vocalist Josh — massively influenced by Anthony Kedis of the Red Hot Chilli Peppers visually and in performance — split the crowd like a marmite debate: you either loved them or hated them. I loved them! Finally I can get back to answering my question, coming on to the A-Team theme tune, Attack! Attack! took to the stage rip-roaring into life with crowd favourite Say It To Me. Their alternative brand of power-pop-punk-rock is definitely being noticed as a packed crowd sprang into life, singing and spilling pints. Playing through a mixture of songs from their arsenal of tracks from both albums, including This Is A Test, Not Afraid and the catchy sing-along opening of You And Me the guys got voices going and the audience’s fists pumping the air. Slower number Blood On My Hands preceeded firm fan favourite and standout track Honesty, to which everyone there sung along, closing a great set with Latest Fashion. This is a band who have done things their way, played and earned their way to being headliners tonight with no doubt. Writing powerful, catchy songs is what A!A! does best and for as long as they do that then the fan base will ever keep on growing. RICHIE SAMUEL

Muni Arts Centre, Pontypridd

Six bands played the Make It gig, and a long shot from his normal band (Captain Fantastic & The Three Funky Beans) James Saunders started things off with an acoustic set. A gravely voice at times a la Kelly Jones of Stereophonics, combined with his laid back blues style made for an enjoyable set. The assault of two female vocalists can at times work very well and Sweet Manics are an example of this. Backed by a capable, all-male band their music appeals to a wide range of people. It is soft-rock yet has tinges of indie and alternative rock, too. Their cover of I Love Rock ’n’ Roll is effective. The two vocalists have a lot of charisma and lead from the front — they can sing too, and don’t just use the female fronted gimmick that bands sometimes use: both their voices are very good. Shinobi vs Dragon Ninja by Lostprophets as an opener is a bold choice and although As Dreams Fail didn’t quite pull it off, it set the tone for the rest of their set: heavy, melodic and raw — almost in the essence of young Prophets themselves. Although they admitted that they haven’t focused on the band recently due to academic commitments, there is potential for As Dreams Fail to be a more polished band with work. Three-piece girl band The Kix play alternative rock. The drummer doesn’t miss a beat and glues the band together, allowing the guitarist (who’s also the vocalist) and bassist to show their talents. Their cover of Be My Girl by Jet was the highlight for me. Louder Than Words, the song that Make It made a video for, went down well and showed the band at their tightest. Nothing New blast into their energetic pop-punk from the first song. Vocalist Mike Smith uses his talents effectively — his singing instigating the crowd to sing along and even start a moshpit. Some old favourites are brought up and they tie in to the newer material easily. The set fizzes with energy and it’s typical Nothing New: bursting at the seams with sheer pleasure and enjoyment at the music they play. Even though they’re an energetic band it’s not to say the music isn’t structured. It’s written well and it’s easy to see why they’re finally gaining some recognition. Headliners Ladies Love A Superhero bring things to a close with their brand of pop-punk. It’s danceable and fun and the audience respond to it amicably. Their opener If You Can See Me Now characterises the rest of the set — pure energetic punk with sing-a-long choruses. Teenage Dirtbag shows up too, and the crowd sing every word. Their last song is their Make It video song Danger! Alert! Monster! and the band combine to create a fizzy, happy sound. For such a young band they’re assured and it’s pleasing to see a band play without getting too serious. Ladies Love A Superhero end things with fun and creativity and this, after all, is what the Make It project is all about. They’re full of fun and energy and they put themselves on the map with this performance. RHYS MILSOM

No School, No Rules Gartholwg, Church Village

Three local bands were on the bill for his Ponty gig, the first of which was made up of three students from Gartholwg school. As they’d only been asked last minute to open the show, they did well — playing as a tight unit with the female singer having a good voice. Next up was Indie-go Modem who were very good, and I have a feeling these may get further in the future. Then headliners Straight Lines, bounced on stage kicking off the tour for their new album Persistence In This Game. The songs were very catchy and the lead singer was very energetic, moving around the small stage. The crowd loved it!

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Solus Bar, Cardiff University

You Me At Six

Great Hall, Cardiff University The first gig of a new year, the benchmark if you will to which all the bands you watch for the year have to live up to. So no snow lying about, but we do have it to thank for bringing tonight’s gig here. The evening opened with Not Advised, whose enjoyable energetic pop-punk did its best to rev up the audience, and it worked delightfully well getting an electric response. It’s not surprising really when you hear their songs, full of enthusiasm, energy and power. They are a welcome addition to the ever increasing and cluttered pop-punk scene. More like stand out track Right Now will see them come back to headline this place someday. Next up were Canterbury, one of the hardest working bands in rock today, going for six years now and sounding as good as ever. Taking tracks from their debut album Thank You and their latest ep Calm Down, the guys rocked their way through what can only be described as a storming set. Playing their softer material such as Gloria and much harder and body bouncing material such as opener Peace & Quiet. Again the crowd responded by just being generally crazy, the guys had a very well received set. It’s testament to headliners You Me At Six that having announced this show only two weeks ago they have practically filled the venue — in PLUGGED IN Issue 6 we said

that these hot shots deserved their headliner status. Well two years on and playing in a much bigger venue, YM@6 have come on leaps and bounds — having a Top 5 UK album, lucrative stage slots at major festivals and supporting heroes Blink 182 in the summer. With a stadium-style set up allowing for ramps and some pretty cool lighting shows, the guys launched straight into Save It For The Bedroom and Safer To Hate Her. They are pop-punk at the forefront of the UK scene, and pushing on into birthplace of the USA are amazing heartfelt songs like Fireworks and much more post-hardcore sounding songs as Kiss & Tell. The story telling within the songs is a joy to behold and testament to the band’s writing skills, highlighted in a mini-acoustic set that included Always Attract, which can break every teenage girl’s heart and get some guys in touch with their emotions. Ending the show with new single Rescue Me, which takes the band in a different and interesting direction, they brought the house down. So where do YM@6 go from here? Well the obvious answer is playing arenas and although keeping a largely young and predominantly female fan base over a period of time is going to be a tough challenge, with the ambition they’ve shown tonight my bet’s firmly on that they’ll do it. RICHIE SAMUEL

Swn Festival 2010 Swn Festival is diverse and dynamic, an epic three days in our beautiful Capital City showcasing our music scene. Knowing that I was writing this review for PLUGGED IN, I had pre-planned my venue-to-venue journey in an attempt to see as much as possible. Here’s my tale of one day’s experience! Starting at 12.30, Saturday was a long day, and not for the faint hearted. Over 12 hours of non-stop live music was truly what Swn was all about. The day started in Clwb Ifor Bach where The Blackout frontman Gavin Butler took to the stage and went back to basics. With rocky melodies and tuneful harmonies Gavin gets the day off to a nice start in the warm, friendly and intimate atmosphere. Across the road in Y Fwch Goch a tornado was starting to swirl as the riot that is Exit_International took to the stage. Fresh from their shows at the Reading/Leeds Festival, the trio pile-drived their way though their repertoire of beastly, bass bouncing beauties with all the pizzazz and power that has made them the force they have become. Always giving it their all, Exit_International entertain and create all the noise and raw power they can muster from two crazy bassists and a ballistic drummer. Back over the road to Clwb Ifor, the impressive Britrockers Town were on great form. With their catchy riffs and punky vibes, the four-piece offer some musical stability between some more cut-throat and experimental artists. With fast, solid and head-bouncing tunes, Town are very likeable. The Computers were up next in Clwb, and the Exeter quartet showed why they’ve gained so much popularity in their short time together. These guys are one of a new breed of British alternative punk-rock bands, fusing dirty-blues and punk to create some damn cool rock music. It’s fast, wild, pacey and temperamental like hardcore punk, whilst maintaining the most appealing bounce and pomp of power-pop. This is music to get excited about, and The Computers deliver with a crazy show full of raw power and creativity. With a tough act to follow, next up South Wales favourites The Guns closed off the afternoon’s proceedings over the road at Y Fwch Goch. As expected, it was party time and frontman Alex

‘The Milk’ Wiltshire whipped the crowd up into a frenzy, as The Guns tore through classics like Gordon’s & Lemonade, Treacle & Pie and No No Know, whilst unleashing some newer material showing their plethora of talent for writing cocky, catchy and upbeat tunes. Headlining the afternoon show at Clwb were the highly rated The Black Spiders — they were cracking! Riffs aplenty, their powerful, fast and ballsy rock tones ruffled the foundations of Cardiff’s historic venue. The relentless onslaught of axe-wielding brutality was a wow factor as The Black Spiders style of no-shit rock ’n’ roll reigned supreme. I wandered over to 10 Feet Tall, and the new Undertone venue downstairs where Mr Huw was effortlessly gliding his way through his bi-lingual set full of charming and charismatic post-folk-rock harmonies and electronic beats. A joy to watch, it’s easy to see why the North-Walian has gained such a good following across Wales, and music awards to go with it. Upbeat and poppy sounds blasted through the club with a real roar of cheer, and the cool funky vibes were well received. Next up was Ystrad Mynach heroes Henry’s Funeral Shoe. Bonded by blood, and telepathically corrupted, Aled and Brenning Clifford are a cracking pair. Playing their psychedelic blues rock the duo go down a treat. There is something so good about Henry’s Funeral Shoe, that unexplained feeling of how two people can make such audacious, loud and groovy rock music dumbfounds me. Rhythmic drumming is met by dirty blues rock guitars that only pause to build up more steam, more grime, and design more trickery! After HFS I headed over to Buffalo Bar to watch a much anticipated appearance from indie-punkster’s Calories. Their fun, upbeat and sing-a-long style went down well, and they had people up and dancing. Calories music is vibrant and intimate, perfect for the venue. It’s got pop-tastic charm and melody in the most part, but these guys also know how to blast out some great, fast and rocky riffs. Back downstairs and outside in the cold, Midlands poppers My First Tooth battled the chill to nurture their happy folk-pop tones skywards. Gentle folk melodies combined with poppy beats and covered in happy sounding, lifeloving lyrics, My First Tooth encapsulates the essence of their name. With her band the

fabulous Cate Le Bon is a terrific live act. The best description is an offering of lullaby, generically sweet, although this version is psychedelic, eerie and dark in its spellbinding mixture of slow, harmonious guitars and beats, with some electronica, fuzzed up guitars and quirky sfx, all flirting with Le Bon’s serene lyrical delivery. With Le Bon finishing around 9pm there was still plenty of live music to see, and for me that started with The School in Clwb Ifor Bach. I only caught the end of their set, but the Cardiff troupe’s melodic pop tones were putting smiles on people’s faces. Playing sweet, happy and upbeat music full of bounce and soul, The School took me back to the sound of the 60s. Singer Liz Hunt’s vocals sweep along with simple, effective and joyful sounds, creating perfect harmony. Over to Y Fwch Goch and Bare Left. From Carmarthen, but having made a second home in Cardiff, the three-piece bring a nice crowd, and reward them with some great rock tunes. Bare Left play Gothic pop, with deep murmuring guitars and drums that pop and chime up in the chorus. Strong vocals form singer Heledd add to the atmospherics, something which makes Bare Left an intriguing proposition. The final stop for my Swn Festival antics was at The Model Inn, where I saw the intriguingly named Beach Fossils for their first ever UK appearance. A rammed Model Inn thoroughly appreciated the New York trio’s daydream-pop vibes, which would have them fit neatly into the Cardiff music scene! With a laid back and relaxed tunes, Beach Fossils are on the money. It’s somewhere between indie and pop, with chiming guitars riding over sleepy drums, bass and vox. Tidy stuff! But for the final hurrah, Islet were back at Swn to close the show. The fabulous Cardiff quartet are stunning to watch, and if there was an Oscar for live music performance then Islet’s show would be up there. Very experimental, and with lots of drums involved, Islet’s eccentric and eclectic approach is fresh and exciting, offering a new view to percussion-led music. Islet live sounds nothing like on their records, and is one hell of an experience. The stage/floor boundary is completely broken and Islet record another epic performance. My marathon day had left me gasping for breath and totally whacked — but totally wowed out by the plethora of music

Monsters Of Rock

The Sweatbox 2

With lights ablaze and the stage set, tonight was clearly going to be a night of hard rock and head banging. The band emerged from backstage, guitars in hand, and stormed into their first number. Fans sang back the words to the more memorable songs that they covered and roared in appreciation to the heavy guitars and drum solos. Sweat dripped from the faces of the group as they mimiced their heroes who had originally played the tracks that they performed, while the heads in the crowd thrashed up and down, hair flying left right and centre as they moshed the night away. The gig was an eventful night, proving that the fan base for old school rock like Def Leopard still runs strong throughout the Welsh Valleys. It’s tribute acts like Monsters Of Rock who are providing the relief for the people who will never get the chance to see their heroes again. ASHLEY EVANS

The second Sweatbox proved a real mixed bag of Welsh talent playing in one of the Valleys’ best club locations. First up were up-and-coming indie locals Twice My Size who livened the crowd with their mixture of originals and cover songs, showing they had competence and ability. After a delay due to transport problems Burried In Alaska took to the stage and ripped it apart with their screamo rock. Been a while since I’ve seen some heavy music like this and really enjoyed their excellent but shortened set. Due to the late running Aberdare boys Reaper In Sicily also had to play a shortened set, but boy can they play! Their power driven rock pop is perfect for today’s market, with the band’s strength and agility — they are ripe for the picking by some record executive. Watch this space! Headliners My Ceramic Rabbit ended the night with their indie-pop mix that had everyone bouncing along. Brilliantly played set, another band that is heading UP. Such a great night of grass-roots-level talent! DARREN WARNER

Muni Arts Centre, Pontypridd

Twin Atlantic

Parc & Dare, Treorchy

Clwb Ifor Bach, Cardiff After climbing up what felt like a million stairs to get up into the venue, I walked into the room and situated myself comfortably at the front ready. After a strong set by Town, Straight Lines took to the stage to feed the eager crowd songs such as Set Me On Fire & Feed Me To The Wolves, which is a fist-pumping feel-good song that gets the crowd going. Following a fantastic set by the Welsh band, Twin Atlantic took to the stage. The Scottish four-piece have had much success since forming in 2007 and supporting the likes of Biffy Clyro, Funeral For A Friend and LostProphets. From the moment I heard front man Sam’s adorable Glaswegian accent I swooned, and I can guarantee I was not the only one! When they played their song Turning Into John Wayne, which evokes a need to jump around, the crowd did just that. The mix of clever lyrics and a Scottish charm make Twin Atlantic a band worth watching. McKENZY RENVAL-VALIQUETTE

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Jam With RoBina Dark Recollections (album) If a band should be standing up in front of the world with people adoring them for their music that place belongs to Jam With RoBina. This, their second album, moves on from the brilliant Visions Of A Runic into a completely unique territory of their own. Laden with storytelling imagery of the most deeply effective kind, while carrying through the excellence of beautifully crafted songs Dark Recollections takes you on an amazing journey of both hopes and fears mixed with the guy’s great sense of humour. Take the track Sons Of Odin which builds from a beautiful guitar intro to a full-on climatic ending of epic proportions. This album isn’t a run-of-the-mill journey, it is highly original, especially in this rock filled nation of ours. It is perfection and needs your attention. Just brilliant. DW

CDs, EPs Downloads & Demos

Funeral For A Friend Welcome Home Armageddon (album) Darran Smith has left the fold and this is the first album without both his and Gareth Davies’s presence, so how do FFAF fare? According to Richard Boucher, the new member on bass guitar who we spoke to recently, “it’s an immediate ball grabber” which is a true statement in itself. He also told us that “the writing process was very relaxed and much more of a group effort.” Armageddon is FFAF’s fifth studio album and it’s classic Funeral. Powerful rock numbers which mix the raw heaviness of their first album with the melodies that run through their best album to date, Hours, is the game on this release with all the tracks being crafted to perfection. My concerns are that this is an album for Funeral’s true fans, and as I love the band that works for me. But you could call it Memory & Humanity Part 2 as it follows the same formula and I don’t believe it’s breaking into any new territory. Armageddon gives the fans what they want, but in this facetious world of ever changing fashions and allegiances is that enough to put bread on the table? Prove me wrong and go buy this brilliant album now. DW The Blackout Hope (album) There comes a time when you must know that you’ve made an album that could be a massive commercial success but still retains the credibility of being you. With Hope The Blackout must be sitting back and saying, “We’ve cracked it boys.” I loved both We Are The Dynamite and The Best In Town but this album outshines them both by miles. It is an excellent mix of anarchic fun that I know the boys enjoy, alongside perfect heavy riffs and at-their-best vocals. Commercially this is a winner that can project them on to a worldwide stage and after watching their latest performance supporting My Chemical Romance recently, they ruled the Motorpoint Arena like no support artists have ever done. The door is open guys, step through and embrace your new world. Excellent. DW The Keys Bitten By Wolves (album) After The Keys released the amazing Fire Inside, a mini-album of the high order, I knew that this band was one to watch. With the release of this collection of 11 new tracks I can honestly say that the prediction was correct. They have advanced their songwriting while still maintaining those mellow hippy-type tones, and it is pure perfection. The album is so strong that even Superman couldn’t break it. Tracks like The Colour Red and The Doors’ish Heads Of The Valleys relay such a defining effect on me that I’m transformed by their psychedelic-rock to the late 60s of my youth (yes I’m that old). Formed from the ashes of Murry The Hump, who played the late great John Peel’s show on Radio 1 (when the station actually had credibility), this band has produced an album that is a real Welsh affair, being released on Cardiff label See Monkey/Do Monkey — who are probably the most exciting record label in the UK at present. It is a cosmic adventure through a multi-coloured universe that is sparkling with shining delights and should be experienced by everyone who wants to trip out legally. Simply brilliant. DW

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My Ceramic Rabbit Sex A Word (album) Just what you need on a dull Saturday morning, Dave! A kick in the teeth of an album by one of the Rhondda’s true Rising Talents. This Roman Jugg (ex-The Damned) produced nine tracks is a real amazing development since their last release. Tight control over well constructed pieces of pure indie pop with a vocal performance from Daniel Evans that jumps out of the whole album. But the music doesn’t allow him to dominate, it is well-crafted subtlety and power that he works alongside. This is a band to watch as they take steps towards the rise of Welsh dominance on the music market. Check it out now! DW Gruff Rhys Hotel Shampoo (album) The 60s Burt Bacharach v contemporary cuteness of Hotel Shampoo has radio-friendly appeal! The pop purity of Shark Infested Waters opens the record and the trademark Super Furry

Animals kudos for quality in melody ensues. In amongst a bevy of easy listening there is folk, country and a taste of Ray Davies! Hotel Shampoo also helps erase the memory of the Rhys link-up with Tony Da Gatorra for a best forgotten project! ROB JONES Kadesha Take One (ep) The girl just gets better and better. PLUGGED IN fav Kadesha has produced this five-track ep that is a perfect setting for her mellow tones and considered song writing ability. It’s hard to believe she comes from Rhydyfelin (but then so did half the LostProphets) and that goes to show that location doesn’t hold you back, only you do. The maturity that this young lady shows within her singing is beyond her years and beyond belief. The jazzy style still pervades but she has created something with these tracks that is her own. Simply stunning! DW

Gramercy Riffs Gramercy Riffs (album) This album starts of with a bluesy instrumental track full of guitars and riffs, but then mixes things up in the following song Stop It which has a country blues hillbilly feel that plods along nicely and lets you know the great musicianship of the band. Temporary Breakdown is reminiscent of The Rolling Stones’ Jumping Jack Flash if it were done by The Who! For the modern ear there is a bit of The Kings Of Leon in there on a track called The Ballad Of Dixie Lee, which I thought would have a prominent banjo but alas didn’t — it’s just that I like banjos! Baby has your standard 12-bar blues rock and roll riff that young and old are familiar with. Don’t Let Them Waste Your Time I feel is the best vocally on the album, helped with the slow tempo and melodic guitar which complements it perfectly. A decent album overall to unwind to after a long day in the office. GARY BOLSOM Canterbury Thank You (album) Canterbury have been going for six years and finally getting the recognition they deserve. Their debut album Thank You is packed full of hard hitting pure rock tunes, pleasing soft rock and some more hard-hitting tunes. All foot stomping, hand clapping and head nodding songs that keep you listening to the next bit of genius. Opener Peace & Quiet is a standout track that just has to be heard. Essential listening — free to download, but do pay if you can as it’s worth every penny! RICHIE SAMUEL Awolnation Back From Earth (ep) What a great 5-track ep this really is! Not just because the first few seconds reminded me of Little Ritchard (which I found amusing) with its scatty rock and roll sound, but it kicks off big time anarchy in the chorus with the rough vocals shouting ‘Burn it down!’ Guilty Filthy Soul has one of those chants you can imagine a festival crowd singing — the track even has its own clap cues! Track 3, Sail had me on many occasions bursting into Enya’s Sail Away and in all fairness I think this was intentional of the band to do this, I just loved the plucky string section on this song. MF is one for the underground dancefloor fillers, a cool beat with a little rap here, a groovy chorus there. A sure crotch grabber on the dancefloor...in a Shamone kind of way! GARY BOLSOM The Method Dissidents & Dancers (album) Anarchic displays of exciting American psychedelic driven pop from the boys on the Cardiff based See Monkey, Do Monkey recording label. Think The Doors on a real trippy vibe or watching The Monkees film Head while on a crashing jet liner and you may come close to the way I feel about these tracks. This is pure excitement on a CD played out against a background of fire induced threads of guitar and keyboard interplay. There is an edge to The Method’s way of playing, a west coast hippy surfing edge when Jaws is in the water. Fantastic. DW The ‘A’ Train Beginning (ep) Beautifully simplistic yet undeniably captivating, first track Dependence is a real ‘feel good’ track. Combining infectious rhythm and inspiring vocals, this is one of those rare songs that becomes the theme-tune for all of the joyful moments in your life. A song for the soul — the drum, bass and guitar work superbly together to create an upbeat atmosphere, woven together expertly by the vocal work. A

magnificently accessible choice of lyrics gives it a modern edge with a broad appeal. It radiates undercurrents from a long gone era of legendary music. The ‘A’ Train has stamped their individual style to a classic musical genre. When I read that The ‘A’ Train is “currently taking over the world...slowly” I didn’t believe a word of it: an exaggeration, surely? But then I heard Dependence — now I have no doubt at all, they will. JAMES WILCOX

could be described as Presley-esque, but don’t let that put you off! The track is worth a listen even if just for the awesome bass guitar solos from Tim Farmer. The electro-rock effect of the guitar is contrasted perfectly with the folk-style sound of the rhythmic guitars, complemented ingeniously with some seriously impressive piano-playing. Perfect for creating a party atmosphere (barn-dance style!) or simply for a good sing-along in the car. ELLIE WOODRUFF

Rockburn Runnin’ Wild (ep) The Scottish band Rockburn are a perfect example of how it is still possible to compose a striking rock ’n’ roll song with a 21st century approach. With the track’s momentous guitar riffs, simple yet meaty dulcet baseline and husky vocals similar to that of George Thoroughgood as well as Roger Daltry, the band effectively combine the old styles with the new producing an impressive track which will blow the minds of listeners. JAMIE-LOUISE HOWELLS

Hollowed Out The Sea City Surf (single) This slow-paced song had a magical feel to it. There is a dreamlike quality, surreal and undoubtedly unique. However, slightly monotone throughout, this song has nothing that challenges the listener. Saying that, there are plenty of pleasant ‘twinkly’ features that make this track enjoyable and relaxing — creating images of dancing with the stars. ROBYN KENNEDY & LIAM JONES

The Lights No Match For Genevieve/Sunday Best (single) Music that has heart, it’s unique and fresh and you won’t be disappointed. An upbeat collection of lyrics you can relate to, and rhythm that you can’t help tapping your feet to. This quirky fivesome make alternative music worth listening to — I can guarantee you’ll know the lyrics after just one listening. Think summer festivals in the countryside, a creative array of smooth voices with beautiful harmonies. A sound similar to Elvis Costello yet unique and eclectic. Definitely a band to look out for in the future. BETHAN TURNER Brontesaurus Chorus Owls (album) This album starts off with a very dark and sinister spoken voice telling a story with music playing under it at crawling pace which gets a bit frantic towards the middle. The following track Sandman keeps you on the edge of a nightmare with the dulcet tones of the vocals and strings. The album picks up the mood after this and you really get the feeling that these eight guys have worked hard at getting the sound right. Listening to Annie’s Waltz I thought for a second that it was Kyle Minogue on vocals — joyous and genius throughout. One Great Mind was a particular favourite of mine which I would describe as being all over the place but always on the right path and hitting all the right notes. An album that definitely isn’t commercial but can be loved by so many. GARY BOLSOM Electric Furnace Goodnight Bloodsuckers (single) By the name of the band and track you know this is a hardcore metal band, and after listening to the track I was right — it fits in perfectly with its genre. It is filled with a constant loop of effective riffs with an interesting solo about two minutes into the song. It’s an upbeat, rock song with good drumming throughout. And although it is quite a heavy track the vocals are surprisingly calm and not as ‘screamo’ as the name had led me to believe. Personally, I think the song would be particularly good live giving the audience an easy in for interaction. Perfect song for headbanging! McKENZY RENVAL-VALIQUETTE MelonHeadMan This Life (single) Part rock, part country which begins with a 10-second intro of accapella harmonies, you could be forgiven for initial apprehension -— however, all doubts are quickly erased as the drum beat kicks in. The vocals over the track

The Monico Track 1 (demo) Self-professed alternative indie-rock band The Monico’s Track 1 seems unique and original. Hinting at an American country vibe on par with Dolly Parton. The lyrics are very accessible, however it is quite blunt and lacks strong emotion. On the bright side, it had a catchy beat and radiated a relaxing aura. LOUISE DELAITRE & JAMES WILCOX Colorama Box (album) This immediately reminds me of 60s psychedelia folk/pop with a bit of The Kinks thrown in for good measure. Singer Carwyn Ellis has that Ray Davies voice and also hints of Brian Wilson (The Beach Boys) are there too. Title track Box is a typical example of that retro 60s sound with an air of mystery about it. Apocalypse Blues and Candy Street are the closest you are going to get to Ray Davies & The Kinks all the while putting Colorama’s own stamp on the genre. Mynydd Hud is a Welsh lullaby of sorts that soothes the soul and takes you back to your childhood even though, like me, you may not understand the words they still speak to you whatever your language. If you feel quite partial to 60s revival/psychedelia/ folk then you won’t be disappointed at giving this album a try. GARY BOLSOM Married to the Sea Hello Digger (ep) Four talented Liverpudlians, heard this one before right? Guess again! These guys bring their twee-indie rock to the scene — and it’s mesmerising. An ep that put a smile on my face and is just perfect to de-stress from modern life. All the tracks — from opener Time Plus Distance with its delightful synthesizer noise and nod-along chorus to closer White On Pink which is more fast paced and head nodding — are all individual strong tunes. If you like your music with a happy up lifting and sweet tune, then look no further. For fans of Los Campesinos!, Vampire Weekend and Athlete. RICHIE SAMUEL Red Room Waxpoetics (ep) Three interesting tracks from this alternative/pop duo from South London. Track one, I’ll Be Fine, is quite pessimistic in tone, reminiscent of post-punk bands of the early 80s, but has a particularly nice bass line — and overall the song reminds me at times of Echo & The Bunnymen. The second track, Lean On Me, is sung by 15-year-old Serena Clara, the songwriter of the band and has a laid back tone.

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The last song, Like Mariann e, is a haunting tune with an eerie drum beat and bass line. It does at times make me think of Joy Division and bizarrely Velvet Underground, possibly because of the heroin references. This is by far my favourite track and I can’t wait for more of Red Room’s output. LIAM JONES James Blake James Blake (album) This guy has been taking dub step to new and exciting levels since early 2010, and with his self-titled debut he has succeeded in bringing emotion to electronic music, a genre that always bears the tag of ‘cold’ and ‘unemotional’. Many people who have followed his progress will have expected him to fall at the last hurdle, his placement at No 2 in BBC’s Sound of 2011 poll only fuelling the James Blake hype monster. Only an excellent album could have dispelled this judgement and that’s exactly what Blake has given us. This album illustrates Blake’s versatility as an artist; this is the new pop, a genre that many will hopefully follow. CHARLEY JOHN

setting it apart from other tracks. This track is a perfect example of how two genres can coincide, with the main hook of indie guitars working well with the old-school synth kit. There is a slight drum ’n’ bass feel to this track with a reverb on the vocals and harmonies used as an antiphonal. It has a classic build up into the chorus which is textbook for this genre but is effective as it allows the sound to be huge and eerie. The dynamic increase and decrease is an important feature as it keeps the beat fresh and pulsating. Generally speaking Urban Myth Club have effectively interwoven melodies to create reputable melody in a minimalist fashion. JAMIE-LOUISE HOWELLS

me of Bruce Foxton from iconic Mod band The Jam. Second track Capital is again reminiscent of The Jam at times and will have me humming it for days! LIAM JONES The New Objects (self-titled ep) A four-track ep with a true British rock sound. Think Manic Street Preachers and early-era Muse with a harmonious twist. Packed with soothing melodies, especially on Falling Through The Floor which combines melodious riffs and hooks and soulful vocals. C’est La Fin is a definite stand out track. RICHIE SAMUEL Yngve & The Innocent Nothing Was Delivered (ep) What is generally a happy ‘sounding’ record has lyrics that tell a different story. Full of regret and past mistakes the lyrics are also educating at the same time, telling the listener to live life and not make the same mistakes. It opens up with the jolly You’ve Been Released, a bluesy number with a Western tavern sounding piano making that will certainly get your foot tapping! When You’re Young has you drifting off and swaying to the chorus. A nice tempo change in Feel Free speeds things along to dancing pace, which is brought down by the mellow Lower Case G which sounds very much like Bob Dylan in the verse. Pretending I Had Faith reminds me of a song in the mold of The Weight by The Band, and the Bob Dylan reference comes up again with the harmonica style throughout. GARY BOLSOM

Twice My Size Seven Days (single) Easily sorted into the 90s punk-rock category of Sum 41, Green Day and Blink 182, fans of contemporary bands of the likes of You Me At Six would also appreciate this music. There is a long guitar and drumming instrumental before the vocals kick in, which is impressive, and the pace of the song is upbeat and catchy. The variation in pace stops the song from becoming too repetitive and copy-cat. CISSY DALLADAY, ELLIE WOODRUFF & BETHAN TURNER

The Moles The Future Sounds of Ashton (album) This album sounds so familiar and different at the same time that it’s quite the charmer. A blend of psychedelic/punk with hints of The Doors/The Enemy/Damon Albarn you would think is a recipe for disaster but it works surprisingly well. Stuck Like Glue reminds me of Blur when they were full of beans, and following track It’s Snowing Again reminds me of Damon Albarn at his mellowest. Neptune’s Beard is a dreamy tune and is the general tone of the album with the exception of Ginger Tom and Frontiers Of Astronome which have a heavier edge in comparison to The Enemy, the latter having a vocal that sounds a bit like a dalek which is interesting to say the least! But it was Brain Garden that grabbed my interest the most and continued to mess with my dream state of mind with its delayed muted effect filled vocals. Another fine potential buy! GARY BOLSOM

Urban Myth Club Fragile/Friday Night (single) Urban Myth Club have been branded as the UK’s Electronica Alchemists, using a retro synth or a simple repetitive loop. The song Friday Night consists of a mash-up of one liners creating a story line. The use of one liners creates a retro feel but disappointingly it is not one of the better songs by the group. The track Fragile is upbeat with the use of female vocals

Jimmy & The Sounds Heart For Rent/Capital (single) Up and coming indie-rock band Jimmy & The Sounds from Middlesbrough have created a particularly nice tune with a rather catchy intro in Heart For Rent. Singer James Renwick adds a bit of typical angst even though the song is a particularly sweet song too which is rather catchy. The song has a nice drum beat and a good bass line which strangely enough reminds

Say When! Make It Happen (ep) This five-piece from the outskirts of Aberdare release their own pop-punk demo — maybe a bit rough around the edges, but that doesn’t take away any of the charm and the knack for writing a good tune. Opener Company sets proceedings off to a smash, followed by Making It which highlights their potential, ending on star track Find You with a killer chorus that has you fistpumping as you sing along. The vocalist Steff really has the vocal talent to help make this band stand out. RICHIE SAMUEL

...And lets quickly sum up what else is on the music market...The Human League make a return with Credo, a pulsating disco of a soundscape. Back in the early 80s they strove miles ahead of every other pretender with their electronic pop songs like Being Boiled and their rendition of Gary Glitter’s (pre-paedo scandal) Rock ’n’ Roll. But now they have to compete in a world that has caught up. Phil Oakey is still a centrepoint though the dance routine beats for a modern club floor dominate more than before. Nobody can stand still and bands have to progress. Adapt or die, well with tracks like Night People and Never Let Me Go HL are alive and kicking... Erland & The Carnival’s Nightingale is the second full release from the London-based trio which is a cacophony of ideas that mixes electronics, guitars and the dreamy vocals of Erland Cooper himself. The songs are polite and listenable but not that challenging to make a defining impact though tracks like I’m Not Really Here and the single Map Of An Englishman stand out more than most. I reckon this is a grower... One of my new favourite bands from 2009, The Leisure Society, return with their second album Into The Murky Waters. Another defining take on today’s music once again standing out like the sore thumb of difference. Back are the beautiful harmonies and the clever but not overbearing use of multi instrumentation. The title track is a bumpy road trip of a song jumping around and keeping your interest till the end of its journey. Pleasant and alluring stuff. I love it... Recharged and revitalised The Pigeon Detectives make a welcomed return to the scene

with Up, Guards And At ‘Em, their third album to date. Again you get the clever interplay between the guitars and vocals nodding towards the anthems of old, but that arena is now been held by Scouting For Girls and The Pigeon Detectives might find that they are no longer the commodity that they once were in this throwawayable society we live in. Saying that, Lost is an impressive burner of a track with its big chorus holding court over the song and the tribal drumming being allowed to filter through. Welcome back guys... Tina Dico, the most successful artist from Denmark releases her seventh album to date Welcome Back Colour, a doubler with 26 songs that features new and re-workings of old songs. Slightly ineffectual and simplistic songs that are neither interesting or terrible with her voice being the centre of focus. And that’s the problem, her voice isn’t that amazing, though it does lift when the songs are stripped back and it’s allowed to flow like on the track Nobody’s Man. I’m sitting on the fence for this one as that’s where this song collection is precariously balanced... You get a hint of psychedelic interplay from Cloud Control who on this single There’s Nothing In The Water We Can’t Fight sound like an Australian version of the Talking Heads. All the emphasis is on the jaunty vocals and jangling guitars, still I can see this song making a commercial impact. But a delightful tune all the same... On Damn Vandal’s Bayonet you get a piece of slowed down powerful guitar rock fronted by a truly interesting vocal style that sound like a call from hell. It’s the haunting angst that carries this song through its

length and makes me believe that I’m listening to a not-to-be-missed live band... Next we have a triple A-side from Redtrack that is aiming for pop stardom. The Trier is a simple danceable pop number while Catch Me Out sounds like a pacey playground twister for secondary schools. Anything is a slow number and the truly standout track, showing off the group’s songwriting talent — though nothing at this point of their career set me on fire despite the hype. Let’s hope they come to Wales soon and prove me wrong with their live performance... Out of the mist, Innerpartysystem return with American Trash a loaded gun of a track that you know is going to be a thumping floor filler. They go full out on the heavy vibe territory punching out beats as if they are taking on Mike Tyson... The Sound Of Arrows song Nova is good, but it’s the Pet Shop Boys: same sweeping synths and hushed vocals in a Euro disco vibe... Cat’s Eyes is a weird pairing of Rachel Zeffira, an opera soprano, and Faris Badwan of The Horrors who have come out with this 60s psychedelic influenced ep called Broken Glass. I love it as it combines light with dark, especially track three Shine Girls which could almost be placed on a Russ Myer film soundtrack while paying homage to The Cramps. Not run of the mill but that’s what I like. Excellent... Gomez frontman Ben Ottewell returns with his first solo outing Shapes & Shadows. His unique voice is so distinctive and enthralling it draws you into his music with immediate effect. This is a beautiful set of songs that are a true testament to his songwriting talent. Thank God for Ben. DW

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