THE MUSIC MAGAZINE FOR WALES
Issue 5
ÂŁ2
Funeral For A Friend new album, new outlook
Featured Bands
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The Guns Man The Last Republic The Bear A470 Along Came Man Cuba Cuba
DA Y RT H BI T 1S
Jay-Z, Status Quo Manic Street Preachers Franz Ferdinand, Y Peth Ghostlines, The New 1920 Killing For Company, Elliot Minor Rhydian Roberts, The Automatic
IS S
Live Reviews
Contents editorial@pluggedinmagazine.co.uk www.pluggedinmagazine.co.uk
WELCOME TO the 1st birthday issue of PLUGGED IN magazine! We are very very proud that we have made it this far — outlasting Xfm South Wales which was launched around the same time as we came on the scene last year. They had a huge publicity machine and budget behind them, while we on the other hand have only two foot soldiers and no budget. For PLUGGED IN to survive another year we need your help in publicising the magazine by word of mouth, by offers of help to distribute it and by getting all your friends and fans to buy it. The Welsh music scene needs PLUGGED IN, a voice to help spread the word about how much talent we have here in Wales — so we’re asking you in return to help spread the word about us. Readers, writers, bands and promoters, if you all sell the magazine at events you go to PLUGGED IN will reach a wider audience — and so will you!
Gail & Darren MANAGING EDITOR & PUBLISHER Gail Griffiths CREATIVE DIRECTOR & CHIEF PHOTOGRAPHER Darren Warner CONTRIBUTORS Adam Perkins, Bethan Rees, Gary Bolsom, Ian Cook, Kayleigh Edwards, Lisa Derrick, Maria Murphy, Matt Willis, Mia Wingfield, Nadine Ballantyne, Pierre Renoir, Rebecca Cocking, Richard Samuel, Simon Davies, Stephen Lewis, Stephanie McNicholas, Tim Batcup, Victoria Turner & Nathan Walker
4 Music News
a round-up of what’s happening
5 Back Issues
how to get those missed mags
6 Funeral For A Friend
new label, new album, new line-up
10 The Guns
straight rock ’n’ rollers
12 Man
40 years making music
14 The Last Republic more than a one-hit wonder
16 The Bear
leaving pawprints in the sand
17 A470
proud metallers
18 Along Came Man melodic hot property
20 Live Reviews
18 pages of live music
22 Pull-Out Poster exclusive live photograph
38 CDs Reviewed
great music recommended
41 Genod Droog
our Welsh-language interview
42 Last 10 Questions with Cuba Cuba
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PLUGGED IN magazine is the creation of Haul Fryn Publishing & Mentoring Services (info@haul-fryn.co.uk). All rights reserved. All contributions to PLUGGED IN magazine must be original, not pre-published and not posted/printed anywhere until after publication in PLUGGED IN. Haul Fryn Publishing reserves the right to modify any material submitted for publication in PLUGGED IN magazine. Reproduction of any of the content of PLUGGED IN magazine, without prior permission, is strictly forbidden.
FIRST WORDS with...
A rock/pop punk band from York, with all five members classically trained musicians may seem a little at odds — until you hear the music. Technically precise rock tracks driven by guitars but woven together with violins and piano make this band different enough to have been picked up by both the press and the music-buying public — with their first five singles all making it into the UK Top 40 and their debut album reaching No 6 in the charts. PLUGGED IN caught up with the boys while they were on a train travelling to a gig just before they embarked on their Skimpies & Aviators tour of small seaside towns (see our review of their stop in Sin City, Swansea, on page 33). PI: You must be pleased with the reaction to your self-titled album. Did you expect things to take off so quickly? EM: Not at all. We released the singles first to get some press coverage, but didn’t expect the album to chart so high. PI: With the single Time After Time you seem to have created the perfect pop/rock song, with everything from catchy chorus to full-on orchestra all kicking off with cool keyboards. How did it come about? EM: The song was written very early on in the band’s career. It’s about how nothing changed after sending off loads of demos and getting no response. The keys represent the repetition of nothing happening. It’s Alex’s favourite track. PI: We think your music seems to have a James Bond theme feel about it. Would you like to do a Bond movie title track? EM: Definitely. Bond themes and composers like James Horner and John Williams inspire us, so it could be something we would be interested in doing in the future. PI: You’re all classically trained musicians. Why did you choose to go into a rock band and not a classical orchestra? EM: It just happened naturally for us. We were all at the same school and the fun of rock music was something we all felt the same way about. PI: Where do you get the inspiration for writing your music? EM: Late Nineties punk bands and composers like those mentioned above. 04
PLUGGED IN
To help celebrate 40 years in the business, MAN (see our feature on page 12) have released a new DVD, God Walking Past – Part One (1968-71), which is available, along with other merchandise from www.effigymusic. co.uk (part two is to be released in 2009). Also, MAN’s recordings with EMI have now been re-mastered and are available through Esoteric Recordings at www.cherryred.co.uk/ esoteric/index.htm – it’ll be well worth a listen, so check them out! The second Swn Festival will be held in venues across Cardiff from 14-16 November. The brainchild of BBC Radio 1’s Huw Stephens the line-up is packed with eclectic artists that span indie, rock, hip hop, electronic, drum ’n’ bass, folk, leftfield, dubstep and just about any other genre you can imagine — among them Future Of The Left, Young Marble Giants and Genod Droog, a great Welsh-language hip-hop act (see our feature with them on page 41). Wristbands cost £45 (plus booking fee) and allow free entry to all events on a first come, first served basis, though each event at Swn will also be priced individually for cash payments on walk up. And at this year’s Swn Festival you can also take part in two seminars, one on Thursday 13th the other on Friday 14th November at The Atrium, with a bundle of music industry experts, movers and shakers. Candy Head, the new ep by PLUGGED IN favourites Mea, is due for release through the band’s own record label White Triangle Records on the 27th October. Candy Head will be distributed worldwide via Ditto Music distribution and will be available from, Itunes (UK, USA and Japan), Hmv. com, Tesco online, Virgin, napster and every other major online music distribution agent. Also this release is chart eligible so if Mea sell over 100 copies they’ll get in the charts – so go buy your copy now! Next month sees the return of legendary singer Tom Jones with the release of a new single shortly followed by the album 24 Hours. Intimate, personal, moving and full of fire this is the first time Jones has had a major hand in the songwriting — and the result is a work of revelation from one of the biggest-selling artists of all time. “It’s all very well just singing songs, but this time I wanted to make something that was all about me, my stories, my life. In other words, you listen to this album and you get the real me.” Recorded in LA last year, the album has tracks that range from the impassioned cinematic classics of his early career to more modern mixes, all with the unique power and iconic sound of Jones’ voice as he sings the tale of a mature man who has lived it large and full. And the sense that this is an historic Tom Jones album, one that brings the strength and age of the man (now 68) is best exemplified by the title track itself — a spine-tingling gaze into the abyss, delivered with sublime gravitas. Click on http://www.parlophone.co.uk/tomjones/ to see a very special one-take performance of the track 24 Hours, and to hear excerpts of four other songs. If He Should Ever Leave You — single released 10th November 24 Hours — album released 17th November
The Clef Room @ Bar Inc is a new music venue in Pontypridd, and the first in a series of clubs from the Steering2Music Group that will feature a variety of bands and DJs from the UK and beyond. As well as a long list of great bands already booked to play at the Clef Room, Radio 1’s Bethan Elfyn will be doing a DJ set on 13th November. Open most nights, you can find the club in the High Street, Pontypridd.
To celebrate one year of PLUGGED IN magazine, there will be an exhibition of words and pictures taken from the first four issues on show at The Muni Arts Centre in Pontypridd from 11th October to 22nd November. PLUGGED IN – The First Year captures the essence of the music scene in Wales, so if you want to get up close to a near life-size picture of the face of Sean Smith, Ian Watkins or Kelly Jones get yourself down to the Muni – and try not to leave too many kiss marks on the framed portraits! For opening times, call 01443 485934.
Look who’s been reading PLUGGED IN magazine! The Blackout, that’s who — caught with the mag on stage at their recent gig in The Muni.
For those of you who missed any of the first four fantastic issues of PLUGGED IN, they’re still available to buy. The price for issues 1, 2 & 3 is £1 per magazine. Issue 4, which comes with a FREE 16-track compilation CD featuring the best in Welsh unsigned bands, costs £2. (Plus postage and packing charge — add £1 for one magazine, £1.50 for two issues, £2 for three magazines, £2.50 for all four issues.) Simply fill in the coupon below and send with your cheque, made payable to PLUGGED IN magazine, to: PLUGGED IN magazine, Haul Fryn Publishing, Haul Fryn, Courthouse Street, Pontypridd CF37 1JW.
NAME............................................................ After finding a new drummer, Dead Fashion (hear them on the PLUGGED IN compilation CD free with Issue 4) recently signed a three-year contract with Lemonlyet Records, with plans of a debut single release in the next few months followed by bigger and better things! So keep your eyes peeled for more news.
ADDRESS........................................................
Bands looking for somewhere to record demos may like to know about Solar Studios in Blackwood, a new venue for recording music using the latest technologies. Go to www.solarstudios-uk.com for further information.
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EXCLUSIVE INTERVIEW
EXCLUSIVE INTERVIEW By Kayleigh Edwards
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or a few months now we at PLUGGED IN have all been waiting for this interview to roll into motion. Meeting FFAF was something I personally had been dreaming about since I first saw these guys supporting the almighty Iron Maiden back in ’04, and have since then been their BIGGEST fan, or at least I like to believe I am. Meeting my heroes! I had even planned an outfit. Me! The leave-ittil-last-minute-rule-book-writer. Days raced past as I awaited the holy grail of phone calls, telling the butterflies in my tummy to start flapping their wings as I would be whisked away to meet the famous five. But when that phone call did come, it wasn’t quite as I expected. There wouldn’t be a faceto-face interview. Queue my heart sinking just that little bit. And worse still Gareth Davies (bass) had decided to leave the band to spend more time with his family. Queue heart sinking just that little bit more. But then there was the good news that managed to leap my heart back into motion. The band had agreed to do an interview via email — with me! Okay, so it wasn’t as exciting as getting to actually meet them in person, but to know that even through the problems they were personally striving to cope with right now, they had still managed to spare those few moments to answer a few questions for me. For the magazine. For YOU. The fans. And that is a factor that has elevated the guys of FFAF to hit the ceiling in idol factor for me. Even in their toughest times they always remember to repay the people who helped them rise to where they are now. So here I sit. In my planned outfit. Fingers a-tapping rapidly at the computer keys. And with butterflies in my tummy simply for the fact that they’ve spared these few minutes of their time, from their hectic lives, and they’ve spared it for me, for their fans — for PLUGGED IN magazine.
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PLUGGED IN
You have a new album out this month, how has it come about so fast? Where has all that inspiration come from, considering you were touring non-stop until the end of last year? The main factor was probably the fact that we left Atlantic Records last October. At that point it was obvious that they weren’t going to push the record any further so we decided it’d be in our best interests to finish the tour we had booked and start writing immediately. Initially we were only planning on writing an EP, but the ideas came so quickly, and we were in such a rich vein of writing form, that we decided it would make more sense to write a full-length album instead. We felt ready for it. The day the new album comes out is the fiveyear anniversary of the release of Casually Dressed. Are you proud to have come so far already, and what are you looking forward to for the future of the band? It’s amazing to think it’s been five years since that record. It really has gone by so quickly. These days not a lot of bands even make it to their fourth record so that’s something that we’re particularly proud of. We honestly believe that this is the best record we’ve written so we’re very excited about touring this record and having people hear it. Where did the title of the album come from? It actually began as a song title. When we were recording the demos for the album, Matt would come in after we’d recorded the music and have lyrics for the song printed out. Memory And Humanity was originally the title for the song Constant Ressurrections. I [Ryan] remember reading Matt’s lyric sheet and thinking, “That’s a great album title”, but didn’t say anything as Matt was in the middle of a vocal take. After the take Kris looked at the lyric sheet and said “I like that title, it sounds like a good album title”, so we were both on the same page there and everyone loved it and agreed. I think when you read the lyrics and hear the record in full then you’ll understand the meaning behind the title. Where did you get the influence for the new songs? Talk us through the story behind the development of the album. Unlike our last album, Tales Don’t Tell Themselves, this album doesn’t have a story — more a theme. Whereas the last album was lyrically inspired by a fictional story, this one was based on our lives growing up, and the lives of those around us. It’s a much more personal record than Tales. Possibly our most personal record to date. There’s a real honesty to these songs that have come from telling real stories about real people and real feelings that we have. How do you think it compares to the previous FFAF albums? It almost sounds like a “Best Of”. I think every other album we’ve done has been very different to each other, where this one takes the best elements of all those albums and just takes all those ideas and sides of Funeral as far as they can go. You parted ways with Atlantic Records last year, how come? It was just the right time for all involved. We have a lot to thank Atlantic for, but the time had come where it was right to shake hands and move on. We felt at that point that we’d be better off going our own way and doing our own thing because the plans Atlantic had
for the future of Funeral’s music was pretty different to our own. The band has started its own label, Join Us Records, why did you decide against going to another label to start your own? We had a clear vision of how we wanted to write this album, how we wanted to promote and market it, and how we wanted to forward our career. Being able to make all our own decisions and be in charge of our own destiny was a very important factor for us. There was no other label that was going to believe in this band as much as we do and we felt we’d learned enough from our five years on Atlantic to make this label, and this record, a success. Is it better to be in control of your own futures, working in your own time frame and making your own rules? Absolutely. I’m much happier being responsible for my own actions and choices. If we do this and it fails then I accept that because we did it our way. What I wouldn’t be able to accept is failing because of choices that were made by people outside the band that myself or the band didn’t agree with. The buck stops with us, and that’s the way we like it. What are the advantages and disadvantages of being on your own label? The biggest advantage is obviously the creative freedom. We got to make this record without anyone sticking their nose in or wanting to change our songs or anything else about the band. When you’re at a major label you’ll always have people throwing their opinion into the mix and trying to direct you and mould you in their vision. This is the most honest and true representation of Funeral For A Friend’s music because there wasn’t any of that type of interference. At this point in our career there’s not really any disadvantages because we’ve managed to secure great funding and distribution deals so we’re actually better off than what we would have been if we’d resigned to a major label. Will we be seeing any other bands joining the label anytime soon, or are you focusing on FFAF for the time being? There are a lot of great bands out there without a record deal that I’d love Join Us Records to work with. At the moment though we’re just working hard to make sure we give our own record the attention it needs and make that record a success. Once that’s up and running we can then look at welcoming other bands into the fold and help them and the label progress. At the moment though we’re 100% focused on making the FFAF record work. You have a large tour to coincide with the album coming up in October through to December. Why have you decided to do so many small intimate Welsh shows compared to the one big CIA show last year? Last year’s CIA show was great, and a great way for us to end the year and the album cycle. We wanted to end this year in Wales too, but wanted to do something a little different. Anytime we tour we only usually do one Welsh show, sometimes none at all! We wanted to re-address that this year and wanted to make sure that all of our Welsh fans got the chance to see us play, and not just the fans in Cardiff or South Wales. Why have you decided on support bands like Attack!Attack! and Cancer Bats to join you
on the current UK tour? Because they’re awesome! We always choose our supports bands carefully and have full approval for support bands on every tour we do. It’s a really diverse bill. Cancer Bats are the heavier act on the bill, In Case of Fire the more experimental and Attack!Attack! the more melodic. The important thing for us is the fact that while all three bands are very different they all write great songs and are amazing live acts. I personally think that this is the best bill out there touring at the moment. With two side projects in the band at the moment, Matt having The Secret Show and Ryan with Ghostlines, do you think maybe fans could see this as signalling the end of Funeral For A Friend? Well, given that Ghostlines’ singer Gav Burrough has just joined FFAF then I don’t think the fans have too much to worry about! If anything it makes it easier for everyone as myself and Gav can record Ghostlines material while we’re out on tour and not have to worry too much about conflicting schedules. As far as The Secret Show goes, I think Matt is actually more preoccupied with another project he has going with some friends where he plays guitar. He seems very excited about that at the moment and I think us doing other things and being that excited about music in general has definitely had a positive effect on Funeral For A Friend. Do you think maybe Matt and Ryan showing their different abilities within music will influence the rest of the band to start their own side projects up to show their own abilities, musically or otherwise? I think the great thing about FFAF is that we’re a pretty diverse band anyway so we get to show off a lot of our different abilities within the band. Nobody has a problem with anyone else in the band doing other types of music as ultimately it just broadens horizons and raises the level of creativity when it comes to writing FFAF songs. You recently did a show in Bridgend in aid of the Samaritans, talk us through that. I think most people are aware of the much publicised problems that Bridgend has had with suicides among young people over the past year. We really wanted to help raise awareness for the great work that the Samaritans do and to let people know that we endorse what they do. If us supporting the Samaritans leads to one person calling on them and accepting their help then it makes it all worth it. I [Ryan] live in Bridgend myself so when I got the call from the people involved it felt like it was our responsibilty to help out and give something back. There are a lot of people doing a lot of great work that goes unnoticed and we just wanted to highlight that and to point people in their direction if they feel they have a problem they need to talk about. TOUR DATES FOR DECEMBER IN WALES 9th December — Tenby 10th December — Swansea 12th December — Cardiff 13th December — Wrexham 14th December — Aberystwyth
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EXCLUSIVE INTERVIEW
ver the past year of this magazine’s existence we’ve always had a good relationship with Funeral For A Friend — which is not surprising as when you ask our young team who their favourite artist is FFAF always tends to be around the top spot. So here’s a quick summary of the PLUGGED IN/Funeral For A Friend connection. ISSUE 1 For our launch Issue we needed a credible cover star. Darran Smith fitted the bill perfectly and although he tends to shy away from the media was more than happy to help our project get off the ground. We interviewed him just before the band hit the road for the world tour of their Tales Don’t Tell Themselves album. The night the magazine launched I had a text chat with Darran prior to them hitting the stage in Auckland, New Zealand. ISSUE 2 Firstly, the PLUGGED IN team was present at the Pop Factory Awards where Funeral won Best Live Act and gave an outstanding live performance of Into Oblivion. In the live section we featured them twice, once covering their exclusive acoustic performance at Clwb Ifor Bach for XFM and also their amazing homecoming Christmas show at the CIA, where Matt turned up on stage wearing a full Santa suit. The magazine print run had been held up for the review and Ritchie and Mia wrote it after the show at 2am in the morning, while one of the resulting pictures of Darran and Matt became our first Pull-Out Poster. ISSUE 3 Things were quiet for Funeral in this issue as they were hiding away, setting up Join Us Records and working on the new album — though Darran’s face was seen on our back issues section and we kept bumping into him at gigs, like Gallows in Cardiff. ISSUE 4 Things started up again, with us featuring an interview with Ghostlines, Ryan Richards’ side project, and of course a review of FFAF’s first releases from the up and coming album, Waterfront Danceclub and Beneath The Burning Tree. ISSUE 5 And so we get to this, our first birthday issue, and we give you another exclusive interview, a review of Memory And Humanity and a live review of their exclusive gig at TJs. And the connections don’t stop there, as we also review Ghostlines’ first gig and set 10 questions to Cuba Cuba who are now managed by Ryan after he first heard them on our Issue 4 giveaway CD which also featured a track from Ghostlines. So watch these pages for future info — cos remember the band play five dates in Wales at the end of the year, and this is our domain. DW Funeral For A Friend Memory And Humanity (Join Us Records) On the 29th August 1994 The Manic Street Preachers released The Holy Bible, a formidable tour de force of an album fuelled by dark angst from a tortured soul. This was to be Richey James’s last before his disappearance. Though the album wasn’t The Manics’ most successful, only reaching No 6 in the charts, The Holy Bible was their most defining, the album that sculpted The Manics into who they are. They had become their own. In the same way Memory And Humanity is the most defining Funeral For A Friend album. Every single track played is pure Funeral, they have thrown away all other influences or diversions, with lyrics that are much more personal, stronger and darker. Funeral have reached that pinnacle in their career, a centre point, a life defining moment. Starting off with the ‘we’re in the next room so open the door’effect on Rules & Games, you enter an album that is an amalgamation of personal emotions (Ghosts) to political statements (You Can’t See The Forest For The Wolves). The powerful earlier releases Waterfront Danceclub and Beneath The Burning Tree sit happily alongside their counterparts more easily than they did out on their own, because this album is a whole being not happy at being separated – though Kicking And Screaming does stand out as the obvious single. Matt’s voice shines over the crafted mix of instruments, though I must admit I feel Ryan has brought his drum kit centre stage because the rhythms he pounds out are the crux of the album and they retain a tight grip throughout virtually every song creating a healthy streak through Memory And Humanity’s heart. So what now? What does the future hold for Funeral once the tour is complete and the Christmas Bells have chimed again? We can all make a New Year prediction but only the five members of Funeral will make theirs. They have the reins and are in full control of what their destiny holds. All I can say is thank f*** for that. BUY THIS ALBUM NOW!! DW
FACE TO FACE
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Photographed by Darren Warner @ Le Pub, Newport Words by Adam Perkins 10
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n seeing The Guns live it’s easy to see how they are one of South Wales’ favourites. With their tenacious rock ’n’ roll vibe, The Guns have built up a big following across the region based solely on their live act, propelling them to playing the main stage at The Full Ponty festival 2007, a tour with The LostProphets, and being nominated for a Welsh music award in their first year. Alex (vocals/lead guitar), Tom (bass/backing vocals), Adam (guitar) and Kob (drums) have grown together as a band over the past two and a half years, producing some of the best rock music to come out of South Wales in recent times. “We’ve grown up as a band, and we’ve gelled together. It’s turned into straight up ballsy rock ’n’ roll,” says Alex. And it is this growth and hard working attitude that the boys believe has helped them produce the hype that surrounds them. “We’ve got a good work ethic and a fighting attitude too,” adds Tom. “Tough love, that’s exactly what it is.” Following the early release of a self-titled EP in 2006, which features the cocky and catchy No No Know, The Guns admit that they came face-to-face with the pressure of the music industry, which has in turn given them the poise to move forward as a band. “We’d finished our album, and there were a lot of
things told to us. We thought it was a lot easier than it actually is. But it isn’t that easy and it’s given us good sentiment to carry on. You need that good kick up the arse to chop on and do it. You either give up or you carry on,” Alex explains. And for the awesome foursome, it was a chance to kick on and start afresh. A new start has helped The Guns develop and define themselves as a four-piece, growing into a harder and faster rock and roll outfit than their early and only release suggests. As frontman Alex told me. “That original EP was put out right at the beginning of what we were doing, just to get something out so that people could hear us. And since then we’ve changed and developed quite a lot. We’re eager to get everything out and we’re eager for people to hear us. And anyone who’s seen us live will know it’s a completely different experience to that EP now, because we’re a lot more hard edged. That’s how we’ve developed.” The band’s first album has been brewing for some time. “We’ve been releasing this album for the last year and a half.” They had it recorded, produced and mastered off their own backs, with the intention of an independent or self release, but to no avail. “We’re gagging to get a second one out, but we haven’t even done a first. We’re so hungry
to do it. We just need someone to help us open the door, someone to show us that next step and we’ll fly through it.” And despite the clear success in pulling people into their shows, The Guns’ wishes in the UK haven’t quite yet been fulfilled. Instead, becoming a success in Europe has given them a ray of light which they can use to shine towards the UK scene. As we speak they haven’t long returned from a month’s tour of Germany, including playing festivals to over 4,000 people, and have now signed a 50/50 publishing deal with Motor Records. “The popularity out in Germany is ridiculous at the moment, completely different to over here, but that’s simply because we just moved on the interest,” says Alex. But their aspirations for success in taking on the UK remain the same. “It’s our home and we just want to get it on over here.” The Guns have pride in the South Wales scene of which they are a heavy part. And they greet the popularity of others with great resolve. “It’s like a rollercoaster where it flourishes for six months then it dies. As soon as a Welsh band breaks with a new album and you see them on TV, everything else seems to flare up with excitement,” says Tom. And for a band like The Guns who thrive in the live arena, this generation and regeneration of the
South Wales scene has helped them become one of the bands to play with. All the same, it’s about time they let audiences hold on to what they get live by releasing an album. Touring Germany was a testing time for the lads. A test which they feel they survived by the skin of their teeth. But now with interest in the UK, there is no denying that there are big possibilities for The Guns’ ballsy, catchy and racy rock ’n’ roll to score a hit. The highly impressive track Gordon’s & Lemonade is a testament to the audacity of the band. It’s become a fan favourite, and there’s certainly more to come. Indeed, if you saw them at The Full Ponty last year, then you’ll already know what to expect. “The Full Ponty definitely represented what’s coming up, because that was the point where we evolved.” With the hope of getting an album out early next year, The Guns are aiming right at the UK like a nuclear missile on a war path. They feel regrouped and refreshed, and ready to fire again. “You can’t walk into stardom, and you can’t be a millionaire overnight. And we don’t expect to and we don’t want to and we don’t need to. We just want to survive as a band, and we want people to hear our music and just be out there.” The Guns…banging! www.myspace.com/gunsmusic
INSIGHT
Words by Gary Bolsom
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Photographs courtsey of MAN (Wolfie, Tony Smith, Duffy, Mad “Mick” Williams & EMI)
his year has been a special year for a legendary Welsh band with a huge cult following — Man are celebrating 40 years in the business, no mean feat when you think of people struggling to last 40 minutes in the industry these days. I caught up with George Jones from ‘Manband’ — as the Manfans sometimes label them — to talk about reaching such a milestone in music and the togetherness of the band that is evident from the line-up over the years. “Yes, 40 years in this business is a fantastic achievement and I think it’s been possible because there’s a strong family element to the band. The group has always been a close knit thing — we never hold an audition for a new
musician, for example, it’s always a friend or someone close to the band. With regards to the current line-up, myself and Josh Ace are the sons of Micky Jones and Martin Ace. Phil Ryan has been a member of Man for many years and is now back with the band. Bob Richards has been in the group for 10 years and is Man’s longest serving drummer.” But it hasn’t all been plain sailing, as George explains. “My dad Micky developed a brain tumour and had to take time off for numerous surgeries. Man continued though, and I entered the band temporarily. When he recovered, he rejoined just as Deke Leornard decided to call it a day, so I became a permanent member.” Just when a period of stability might ensue, circumstances conspired to intervene once again. “In 2005, Micky’s health deteriorated due to the re-occurrence of a brain tumour and was replaced by Josh. The father and son relationship works out fine, like I said, it’s always been very close knit. Josh has taken to the road very well, he’s 19 now and he’s been giging solidly since he was 12!” So 40 years on and Man are still doing what they love best. “I wasn’t even around for most of it, but I think the love of making music and playing to people who are kind enough to listen is what keeps Man alive. It certainly isn’t for the money, we haven’t made any!”
Man was never a mainstream band and, personally, I don’t think that was ever intended. What is true though is that they have a big fan base. Were there any thoughts to go commercial or was making music that the band loved and believed in more important? “Definitely the latter, but that didn’t mean the band in its early days didn’t want to be successful, they certainly made their mark — they must have or we wouldn’t still be playing today. A band with such a revolving line-up like Man was always going to be a hard beast to tame. The band were always true to themselves and played what they wanted to. There was a lot more artistic freedom then, with regards to record companies, but that kind of freedom doesn’t breed mainstream success.” Man was considered a bit on the controversial side back in the day regarding their choice of song titles. “We didn’t thrive on it, it just followed us.” Come on now, George, with song titles like Spunk Rock and Shit On The World! “The album that contained Spunk Rock saw deterioration of the bond between Man and Pye, their record label. Pye had repeatedly failed to grasp the potential of the group and, in an effort to stick to their traditional roots, insisted on some of the more outrageous titles being renamed. Spunk Rock was out of the question. ‘Rock’ was OK, but ‘Spunk’ just wasn’t acceptable. The band couldn’t agree with the record company on new titles so the decision was left to Pye. Shit On The World surfaced as It Is As It Must Be, a throwaway line uttered by Clive John as he gave up trying to persuade Pye of the merits of his original title, but the slumbering Pye ineptly changed the wrong word in Spunk Rock, which was issued to the band’s glee as Spunk Box.” Then there is Erotica which definitely needs to be heard. “It charted very high in France. It actually came out the same time as Je t’aime... by Jane Birkin. So you could say Man helped introduce the French to sex!” One thing about Man is that a lot of their songs have a story behind them. Romain for example is about an encounter with a policeman. “Romain, told the story of Martin Ace’s unfortunate meeting with Romain Bracx, a Belgian policeman with a history of unpredictable behaviour. Basically, Romain was beating the crap out of some poor kid at a festival in Belgium that the band was playing. Martin stepped in to help the kid and ended up getting beaten, arrested, fined and jailed. He had to pretend to pass out otherwise they might have beaten him to death. Whenever the band returned to Belgium, they were arrested. The next time they did return to Belgium though they were on television playing Romain, which
had been written about the incident!” The band’s sound has been described as Psychedelic Blues Rock, other people say that they can’t be categorised. “The band’s sound has never been a set thing, it’s always been a very natural, organic process, just taking a piece of music and seeing where it goes.” Back in the early years when Man were touring they played five-hour sets! “In the UK they were expected to play for two hours, in Europe it was five, so the songs they had were extended to contain long solos and other experimental sections. When it came to recording, they didn’t. Albums were thrown together in a matter of weeks, Man were slaves to the road, probably one of the busiest touring bands of the 70s.” On the subject of recording, the first album Revelation was recorded in a hotel — unusual to say the least! “Yeah, that album was recorded in the Langland Bay Hotel in Swansea.” Speaking about a new album and the change in recording techniques today George was enthusiastic about the band’s direction. “The band’s feeling was that Diamonds & Coal was like starting over again, here we were doing the first Man album without Micky Jones. It was a strange feeling, but like with Revelation you had a band who were finding their feet. We’ve
dabbled with digital, coped with Cubase, toyed with Protools, but in the end, we went to an old style analogue studio to do it.” So the future of Man looks promising. “We’ll continue as always, with utter stubbornness. A new album is being recorded very soon and some touring will follow. We’ve got some good tunes on the go, we’ve got a very stable line-up at the moment and it’s nice to reach a period of stability. It’s been a tough couple of years, with the loss of Micky from the band, but he’s with us all the time, providing inspiration at every minute. There’s not a second on stage where I don’t think of him. Who knows, at this rate Man could go on for another 40 years!” www.myspace.com/man
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face to face
Photograph by Darren Warner Words by Richard Samuel
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ailing from Pontardawe, The Last Republic are catching eyes, ears and filling people’s minds with imagination. It all started back when Johnny (vocals/guitar) and Dafydd (lead guitar) split from other bands and together went out seeking fellow musicians to form a new band. Aron (drums) was recruited through the Welsh Government! “I was doing some work with Aron’s brother for the Welsh Assembly,” says Johnny, “and mentioned that we were looking for a drummer then contacted Aron only to realise we’d been in the same school together. Dave (keys) saw an advert in the local music shop when he was going there to get his keyboard fixed and the story with Joey (bass guitar/bass synth) is really funny because we originally asked his brother to join but Joey, in that older brother type way, shoved his way forward instead!” A mutual love of Pink Floyd, Radiohead, Smashing Pumpkins, The Doors, Nine Inch Nails, Stereophonics, REM and Jeff Buckley, culminates in TLR sounding like an early Muse, early Radiohead and Pink Floyd. They play intriguing, interesting and loveable anthems that capture your imagination and send it down a wonderful visual journey. So where do these boys expect to go in life with their ambitions. “World domination, haha! We’re all rather ambitious in our own ways. We just want to write music that reaches out to the masses and try to create music which will retain longevity as there are so many bands that come through with one hit song or album which they can’t follow up and where are they now?” Hmm, remember The Darkness with their breakthrough album? Now split up after failing at the second album, this just provides evidence to Johnny’s statement. “This is a great career if it works out!” Sounds good to me, I’d love to be the frontman of a band for a living. Well how do you go about world domination? A good place for any band to get their music out to the masses is by radio. “Three days after our CDs were still hot off the press we were played on Zane Lowe, then by Bruce Dickinson (Iron Maiden frontman in case you didn’t know) on Radio 6, followed with plays by Huw Stephens, then single of the week on NME Radio, followed by being added to the evening playlists at XFM London and Manchester, and we’re listed on Cardiff’s Nation Radio playlist. It’s unbelievable really the radio play. A massive thanks must go to our manager Eden Blackman of Ish-Media, he does the nitty gritty.”
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Live is where a band should really shine and these guys first caught the attention of PLUGGED IN’s Creative Director Darren Warner at a gig back in the Spring — getting a glowing review in Issue 4 in the process. The guys love performing live and have shared the stage with heroes Stereophonics. “To be good friends with and share the stage with Stuart Cable is something I can say I thought we’d never do. He’s a great guy and has been very supportive of the TLR movement. We’ve played Brighton’s Great Escape festival and will be playing at Cardiff’s Swn festival in November — something to look forward to on the Welsh music calendar.” Their favourite show to date though was at Pontardawe Arts Centre which was their first sell out with 500 people packed in to see them. “PAC is such a wonderfully constructed theatre and perfect for our sound. What made the event extra special was we’d been constantly driving back and forth along the M4 to play gigs in London, so it was nice to play such a large gig in our home town.” The boys don’t want to dismiss London completely though. “We did have a wonderful show at Hoxton Bar and Kitchen in Shoreditch, where once again it was a sell out.” Quite an achievement for an unsigned band outside London. TLR recorded their debut EP in the Monow Valley Studios in Monmouthshire. This legendary
place in UK music has links with Queen, the Stereophonics, Oasis, Led Zeplin, the Manics, Kasabian, Coldplay, Black Sabbath, Motorhead and New Order. The producer for TLR was Chris Sheldon who’s mixed the Foo Fighters, Radiohead and The Pixies. He’s helped Pink Floyd member Rodger Waters on one of his albums, produced albums for Fightstar, Biffy Clyro and Feeder. “It was an honour to record there and we’re really looking forward to going back. The studio does have a strange yet magical essence to it and you do feel like you’re being watched sometimes, or watched over maybe. It can bring out the best in artistic potential.” On their EP production by Chris Sheldon, Johnny commented, “He’s heard all the early mistakes and moments of genius of some of our heroes and when we found out who we were going into the studio with we were over the moon. We get on like a house on fire and plan on working with him on the album — so watch this space...” So the TLR movement is shifting up a gear and is continuing to snowball into effect. After listening to them on their myspace I can’t wait to see this band live myself, it feels an honour to have interviewed a band destined to hit the UK airwaves with a bang. www.myspace.com/thelastrepubicmusic
Photographs by Darren Warner
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arlier this year PLUGGED IN was pleased to discover something a little unusual — a band from Swansea that didn’t play the rock music we tend to hear in Wales, but a band playing music based around jazz/funk instead. In fact we liked their sound so much that we put one of their tracks on our first compilation CD, given away free with Issue 4. So, the question we wanted answered was if it was a conscious decision for The Bear to be different? “Yes. The one thing we were sure of was that we didn’t want to be another rock band from South Wales. That’s not to say we haven’t seen some really good local rock bands, just that we wanted to try something different and original. The funkier edge was a natural progression from being a covers band to a band mainly writing and performing our own material. We have a wide range of musical tastes and interests as a group, from Miles Davis to Rage Against The Machine. I think that combined with our collective playing styles naturally led us down the funk path with a mixture of rock, jazz and reggae thrown into the mix for good measure!” Having recently recorded a six-track EP, the band has been getting regular airplay on Nation Radio and the Wave as well as a couple of internet-based radio shows. “All the feedback we’ve received has been very positive, which is especially pleasing as this was our first original recording. Gigs have been more problematic as the majority of local live venues tend to go for cover bands or are booked so far in advance that it’s difficult to get a foot in. Having said that, things are certainly picking up for us in the locality and we are getting busier. We intend to cast our net wider over the coming months and get more proactive in getting work.” And on the back of the ep the guys have had a studio session with Nation Radio too. “That was great fun. They asked us to perform a few acoustic songs, which we hadn’t much done before so we all met up and re-arranged some of our songs to suit. We played one re-arranged song from the EP and an unrecorded track called Circles. It was interesting to see how things worked behind the scenes and are hoping to be invited back.” So how does a band with so many musical influences formulate its songs? “Wayne [main volcals/lead guitar] writes most of them but everyone in the band contributes to its overall structure and groove. It’s a bit like a blank colouring book — Wayne will provide the picture and the band will colour the picture in.” So what does the future hold for The Bear, especially in the light of a recent departure of one of the band members? “You know what they say about every cloud having a silver lining. It was unfortunate to lose our backing singer but we are delighted to have replaced her with our newest member Jon, on percussion. Although he’s only been with us a short time, his enthusiasm is as infectious as his playing and we’ve certainly gained another more interesting musical layer to add to The Bear sound. We’re all very much looking forward to the future and the opportunities that lie ahead. We’re back on track doing what we do best, writing our own music — and we will be leaving our own distinctive pawprint in the sand.” www.myspace.com/thebearmusicuk
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FACE TO FACE
Photograph by Darren Warner Words by Bethan Rees
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our very enthusiastic friends getting together to perform music they have a real passion for is what A470 are all about. Jamie, Chris, Shane and Jack all seem really enthusiastic about their old school sound. They proudly admit that they got their inspiration from rock legends such as Pantera, Metallica and Black Sabbath. “We’ve all played in different bands in the past, but we are now playing the music that we all enjoy and are driven by.” And you can tell how deep the passion goes just by watching them perform. Their upbeat and energetic performances make you want to get in that mosh pit and go crazy (which is what I would have done, had I not been stood on the outskirts with a notepad!). After seeing them as a support for Merthyr sextet The Blackout in July at Ponty’s Big Weekend, I was blown away by their act and how much energy they had on stage. “We have
been told about our energy on and off stage, which is great from an audience point of view because there’s nothing worse than watching statues on stage!” And with that in mind, I complimented the guys on their performance and asked them what they thought of the Ponty crowd. They were well impressed and said, “The crowd in Pontypridd were awesome! They know how to open up a huge mosh pit, which we love to see…they rocked!” Although the band loves to play the intimate venues and getting in the midst of the excitement with their fans, they would also love to play bigger festivals. When I asked which festival would be their ideal they enthusiastically replied “Donnington!” and as big music fans themselves, they love being part of the fanatic atmosphere. “It’s always good to be involved in a huge circle pit, but it’s even better when you’re on stage demanding one!” So fingers crossed we’ll be seeing them
demanding chaos at a festival soon! As one of Wales’ up and coming bands, A470 are loving the Welsh music scene at the moment, especially as they’re a part of it. “We think the Welsh music scene is great…there’s a lot of great Welsh bands…and Wales is home to some really good talent.” And right they are! When in the presence of talented guys such as A470, I wanted to know what advice they would give to PLUGGED IN readers just in case any of you fancy being the next big thing. “Be yourself and be prepared to work your b*****ks off. You’re only as good as the effort you put in.” Fair comment I’d say. To find out more about the guys and see what’s new with them, check out their myspace. Meanwhile, I’ll be putting my notepad safely away and preparing myself for the next A470 gig where the pit awaits. www.myspace.com/a470
face to face
Photograph by Darren Warner Words by Adam Perkins
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ndroo (guitar/vocals/keys), Slim (bass) and Matt (drums) are Along Came Man. With their catchy, up-beat melodic rock, they are one of the hottest properties in South Wales, and have been for some time. Formed in 2001, Along Came Man have wowed audiences throughout the UK, shared stages with Status Quo, Feeder and The Automatic, been featured on Radio 1 and Scuzz, and won a Pop Factory award for Best New Act in 2004. And it isn’t hard to see why. One listen and their bright poppy tunes have you dancing away, escaping into the music that has helped them engage with so many audiences over the years. The release of the Believe There’s Nothing EP on Mighty Atom in 2005 gave them a support tour with 3 Colours Red at the age
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of just 17. The EP itself features the vibrant and magical title track of the same name, a tune which captures the ethos of the threepiece who have simply continued to write with the same passion. “We’re not reinventing the wheel. We’re not doing anything horrendously different. We just do what we do, and it’s melodic rock and stuff,” says Androo. The EP is currently the only release from ACM, and fans may have to wait some time for an album. “As of yet we have no plans for an album. We recorded stuff a year ago which we still haven’t done anything with. We’ve been doing this band for so long now, if we ever did an album I’d want us to do it right and have a half-decent recording and not something we’re just putting out for the sake of putting it out to make a couple of quid.” And this attempt for
perfection, together with a constant review and development keeps them ticking over as a band. “To be honest, an album isn’t something that I’ve ever been that interested in doing as an unsigned band. I find that the most exciting thing about unsigned bands is the fact they can constantly keep re-inventing themselves and changing direction however they like without anyone pressuring them,” Androo explains. “We send it off to people. We don’t see the point in releasing it ourselves because it doesn’t really go anywhere. We tend to send our stuff off to industry and see what comes back,” adds Matt. This initiative stance taken by the band showcases their enthusiasm for the music they play. “I like playing anything new. I have the attention span of a four-yearold and get bored of songs very, very quickly.”
2008 has been somewhat of a thinking year for the trio. “We’re at the time now where we’ve come to a bit of a lull, and it’s time to re-group and think about what the next plan is going to be. It’s not all doom and gloom.” And how can it be doom and gloom when you’re able to churn out music that gives you that feeling you’re flying high? Tunes like 654 and Matchstick are catchy, crazy and upbeat pop-rock marvels, whilst the sensational Michael Jordan propels them to another level. Songs like these mean they are always highly thought of. “When we seem to go and get somewhere another trend comes in and then we’re stuck in the middle. But we always seem to come back after all these trends have come through and we struggle to fit on bills,” says Matt. Indeed, there is inevitably a love and
fighting spirit in the band that keeps coming back time and time again. “When you get knocked down you have to find the will to get back up again and carry on.” Along Came Man certainly have that. What they also have is a strong belief in the local music community in which they provide a significant influence. “I think the music scene in South Wales as a whole is thriving. Not only are we producing quality bands but bands who are breaking into the mainstream and can be heard day-in-day-out on Radio 1 and national TV. I thought the Full Ponty in 2007 was a testament to the South Wales music scene in that 60-70% of the bill were local bands and that fact alone sold thousands of tickets,” Androo says. Along Came Man hit the top notes at the
end of 2007, with a beautiful performance at the Full Ponty. And it is this kind of vibe that the guys are attempting to get back to. “We should go back to where we were before Christmas really because things were really building up steam then. The buzz around the band was amazing and we thought we really were going to get something from it. We need to try and get back into that groove and try and get things going again.” And with that comes the news that they’re back in bloom. “We’ve just done some new recordings, and we recorded some songs for The Guest List TV show, which is going out in November, so there’s some tracks on there with us rockin’ out and looking generally good.” www.myspace.com/alongcameman
20 pages of live music & CD reviews
Yet again we at PLUGGED IN have been out and about over Wales watching all sorts of artists doing what they do best — perform live — to report back to you readers and music lovers on what’s going on out there. As usual there is a plethora of stunning photographs to show you what these guys look like in action. And don’t forget, if we cover your band then you can have free copies of all the photographs we take after they’ve been published — yes we said for free! We at PLUGGED IN are investing our time and skills in promoting the Welsh music industry and if free photos help your band take another necessary step on the road to stardom, then we will be pleased to help. Also, if we can’t get to see you live then you can send us your music — post demos/eps/CDs to the address on the reviews page. Remember, PLUGGED IN is the voice for music in Wales.
live performance
Jay-Z CIA
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ip Hop has never been the mainstay of the Welsh music scene, so it was a brave move to bring rapper Jay-Z to the CIA — but then he has reportedly signed a $150 million deal with Live Nation, the venue’s owners, so I suppose it was only to be expected he play in Cardiff at some point. It was with some interest then that I went to the gig wondering to myself if the crowds would come to see his performance. For me this would be the second time to see the rapper perform live — the first being only a few weeks before supporting Linkin Park as part of their Projekt Revolution tour in my home town of Milton Keynes. Prior to that I had also watched the live TV coverage of the controversial headlining Glastonbury performance (controversial only in a rapper being chosen to headline the festival, not his performance). He had blown his critics away at Glastonbury and was about to prove to Cardiff that there is music outside of rock. Supported by the white-suited Mark Ronson, who excellently whooped up the audience with live versions of his recorded versions from his album of cover versions(!), Jay-Z strutted onto the stage like a prowling animal and looked like he felt he always had something to prove. The stage was large but he filled it with his presence, effortlessly controlling the supportive crowd with songs like 99 Problems and Hard Knock Life, making everyone hold their arms up, hands in diamond shapes — “Get your diamonds in the air!” Instead of the usual rapping over scratched records, Jay-Z had a strong set of musicians on stage with him and had gone straight for the jugular with a heavy rock performance, proving hip hop can be played hard as well. Lyrically his writing is pure venom and more akin to the Punk protest songs of old than the whimsical pomp of today’s popstars, especially when rapping about George W Bush’s inept handling of the Hurricane Katrina disaster in New Orleans, leaving a mammouth picture of the President’s face on the screen behind him for the audience to shout their distaste at. Ending his set with the brilliant Encore, his mash-up with Linkin Park’s Numb, was pure genius that left the audience in no doubt Jay-Z is simply the best rapper in the world today — and if you listen to him you’ll realise that too. DW
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Pull-Out-And-Keep Poster
live performance
Funeral For A Friend TJs, Newport
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s if harking back to their past, Funeral For A Friend are currently touring smaller intimate venues in the country recapturing the early days when they first started giging, playing at sweaty joints that are held together with gaffer tape and beer stains. The only problem with this is Funeral are a major force within the scene, not playing to 10 people in a club in Leeds as Darran Smith told us about in his exclusive interview for PLUGGED IN Issue 1 — they can fill large venues like the CIA, as I witnessed at the close of their last tour back in December. So this begs the question, how do you fit a stadium-sized audience into a small venue? The answer is tightly. And it was this tightly packed audience that exploded
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into a complete riot as soon as the band hit the stage and struck the first notes of This Year’s Most Open Heartbreak. No pit meant I had forced my way to the front to get the best shots and felt my ribs crack as the fans surged forward towards the metal barrier in front of the small stage. Though there were times when Matt looked a little worried and had the bouncers pull some hapless fan from the mosh that had ensued, their performance was nothing but hard and relentless. I was there to hear the new songs from Memory And Humanity, sweat running down my face and stinging my eyes, and when Darran struck up the chords for Waterfront Danceclub you could tell that there was going to be no forgiveness in the new music they’re producing. This was
repeated with Wolves which doesn’t appear on the album and the brilliant Beneath The Burning Tree that appeared later in the set. 15 songs later, which included Into Oblivion, History, and the final song Escape Artists Never Die, Funeral left the stage to let the sweaty throng out into Newport’s cold night air. Funeral are a brave bunch of lads, taking a step that might be deemed suicidal by playing small venues but whole-heartedly loving what they do. This was to be one of the last gigs that Gareth played before his departure from the band, but this will not hold them back. Gavin Burroughs has joined their ranks and there is a tour to complete, including five dates in Wales. And guess what, I intend being at all of them for PLUGGED IN. DW
The New 1920/Ghostlines TJs, Newport
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ide projects to already established band members have always intrigued me because I like to see if they can create something so different it’s worth listening to — like Gruff Rhys of SFA’s brilliant Neon Neon project. So when we at PLUGGED IN had a message via our myspace site (www.myspace.com/pluggedinmagazine) telling us to check out Ryan Richards of FFAF’s other band Ghostlines, we did just that. See, we do pay attention to your comments! Well for us the music was dreamy, beautifully ambient with both strong subject matter and well-crafted tunes. In fact we broke one of our rules and featured the band in the magazine (Issue 4) without first seeing them live — though we did rectify things by going to their first ever gig when they got round to playing live. The four-band line up was impressive, kicking off with the rising talent that is Cuba Cuba (www.myspace.com/cubacubamusic). Distinctly different, this band’s approach to their music places them in a unique position of being quite unplacable. They layer their songs like weaving an intricate pattern, especially on the excellent Visualizer which appeared on PLUGGED IN’s first cover-mount CD (Issue 4). Though fairly young I’m sure this band will be one of the next big things to come out of Wales. Ceasars Rome (www.myspace.com/ceasarsrome) produced a more traditional form of music, though with a strong performance. Screaming guitars played on tracks like This Is It and Awake & Armed makes you understand why they were winners of XFM South Wales Unsigned Artist competition. Ghostlines (www.myspace.com/ghostlinesband) were never going to perform a jump around, fists in the air type of set due to the music they create but what we got was a real treat. Gavin’s vocals were flawless, their musicianship crafted to perfection, the whole set stunning. Hearing the live version of ACID and Goodbye My Friends just sent goosebumps up my back, and that hasn’t happened since I saw The Cocteau Twins over 18 years ago. This was a listening performance, a musical performance, a breath of pure fresh air — and just excellent. So, how do you follow that? Well get the multi-talented Col Francies on stage fronting the highly energetic The New 1920 (www.myspace.com/ thenew1920) and press GO. Never a band to disappoint Col challenges the audience not to enjoy their set, flying through the air into the crowd while the band pump out some of the best thumping rock tracks you could hear live at this time, including the brilliant Torpedo Libido. Definitely worth going out for. DW
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live performance
Brigade
Barfly, Cardiff
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n the week that was our summer, I braved the heat to go and see hotly tipped newcomers Brigade, who are apparently deemed for big things following their big anthems and their big hearts. First on were the now disbanded Midasuno who powered through a brilliant set as energetically as ever — it’s a real shame that they’ve given it all up and will be sadly missed. Main tour support Slaves To Gravity (www.myspace.com/slavestogravityofficial) changed the mood to bring their style of modern grunge to the club, reminding me very much of Soundgarden in parts but with more of a hard rock edge to them. They were a treat to hear and the crowd took to them thoroughly. Headliners Brigade (www. myspace.com/brigade) were given a warm welcome, and even from first glances you can see these boys have the heart for their music. Singer Will Simpson’s strong vocals kept the fans engrossed, both with songs and chit chat between numbers. They’re hard rock, indie and something new — but there’s a certain edge that takes normal tracks to become anthems for all to sing and rock out to and these guys have it, which is why they’re given that little bit of hype. NADINE B
The Automatic The Muni, Pontypridd
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he Automatic (www.myspace.com/theautomatic) returned to Pontypridd after last year’s successful outing at The Full Ponty. This time around they had a few more songs up their sleeves and also a new member to call upon after the departure of Alex Pennie. New boy Paul Mullin is filling the void well, while adding a new dimension to the band. The Automatic’s songs are sometimes dependable on the synths and with Pennie’s departure there was a question whether the band could keep the original sound going, but with all members now contributing to synth playing they have managed to keep their trademark sound. At this gig, fans were treated to old favourites and surely soon-to-be new favourites as the band stormed through their set. Recover, Monster and Raoul all played to perfection with the latter being a standout track for me. New track Steve McQueen is becoming a favourite with the fans as you could tell from their reaction when the band breezed through the first single off their new album This Is A Fix — the title song is a big number so The Automatic had help to perform this track with Viva Machine’s bassist Tom Stephens joining them while singer Rob Hawkins takes over the synths. One of the highlights from the last time I saw The Automatic was their cover of Kanye West’s Gold Digger. This has now been replaced with a cover of Ushers’ Love In This Club, which was first heard on Jo Whiley’s Live Lounge. So as the saying goes ‘the Pennie has dropped’ and The Automatic’s live sound is as rich as it’s ever been. GARY BOLSOM
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The Guns
The Dolls House, Abertillery
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hen The Guns (www.myspace.com/ thegunsmusic) played on home turf after returning from their tour of Germany the atmosphere was electric. The band set the stage alight with their opening track, the high-paced rock and roll number You Can Eff Right Off. The powerful voice of lead singer, Alex Wiltshire, ripped through the venue and stirred the audience into a state of frenzy — and this set the tone for the duration of the gig. Halfway through the set the band showed a mellower side with a slow epic rock number This Old House, where lead guitarist, Adam Turner, played haunting riffs that showed the diversity of this band’s talents. The Guns ended their set in spectacular fashion with the stadium rock anthem Gordon’s & Lemonade, which of course got the crowd singing for a perfect end to an adrenaline-filled set. If you like bands that provide entertainment from start to finish then The Guns are the right band for you. VICTORIA TURNER
Johnny & The Bandits Buffalo Bar, Cardiff
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itting six bands into this intimate venue meant they all had trouble packing their gear into the room, let alone leaving space to perform to a frenzy of mosh-pitting crowd-surfing kids. Openers 3 Way (www.myspace.com/band3way) are a quirky alt-rock punk band fronted by someone who obviously doesn’t care what you think and shows that live. A few random noises from this gentleman and a slightly dodgy Radiohead cover later they depart the stage for Ulteria Motive (www.myspace.com/ulteriamotive), who threw their EP at the crowd by the handful — none of which were getting left behind. With a decent amount of fans in the room singing along to their powerful rock anthems, the singer definitely knew how to handle the crowd and got the rock ’n’ roll started. Next up were The Silent Faces (www.myspace.com/theslientfaces) who left much to be desired, and saw the crowd disperse rapidly. Though they were back in force for The Bicycle Thieves (www.myspace.com/thebikethieves). From the first note all the kids went nuts, mosh pits formed — somehow! — and all ages thoroughly enjoyed the indie kids playing like they should be headlining, even when they got cut off they were still full of it and cracked out another tune. Next up were Jizzwagon (www.myspace.com/jizzwagon) a hippy-fronted band with an old classic sound that you can’t help but like. Headliners Johnny & The Bandits (www.myspace.com/johnnyandthebandits) got everyone dancing down the front, with their ever changing style of funk/ska and changing of instruments throughout the band. It made an enjoyable performance and a good set to end the night on. NADINE B
Fight Night
The Muni, Pontypridd
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t a Fight Night in July you would expect to see some hot and sweaty action inside the Muni. First up were Argonaut (www.myspace. com/argonautofsouthwales) who were making their debut gig bringing in loads of new faces.
Fronted by ex-Last Call vocalist Jamie Todd, this new band bring a wall of sound on stage and slam you directly in the face with it. His powerful vocals backed up by the rest of his band’s fantastic metal sound perfectly suit him. They ripped through the songs, Autopsy, Bridges Of Blood and Last Remaining. A fantastic debut, which sets the bar high for future performances. Dead Fashion (www. myspace.com/deadfashionuk) whose indiepunk sound was a lot calmer than Argonaut’s pure metal, gave a fantastic performance with songs such as Last Chance To Dance (as
frantically with passion and fun — this all climaxing in a stage invasion which saw mostly the entire crowd dancing away on stage. Cuba Cuba (www.myspace.com/cubacubaband) are already turning heads in the local scene with their unique sound, though tonight the boys’ KORG went missing moments before they went on stage so they were forced to perform a kind of half-rock half-acoustic set. A brilliant performance nevertheless that did enough to ensure everybody wanted them to come back again at full strength. The night’s headliners We Push Buttons (www.myspace.com/wepb) were out of their home territory coming from over the border, but gave us a sound that’s like Kids In Glass Houses being mashed up electronically by Friends Electric. Their bleepy anthems mixed with rock drive ensured a perfect mix, which held the audience’s attention very strongly. A fantastic headline act, that hopefully we’ll see more of in the future. RICHARD SAMUEL
of regulars saying it’s the best they have ever seen them. Headliners Along Came Man (myspace.com/alongcamemanband) on paper didn’t fit the headline slot with an all metal support on offer, but most of the audience had come to see them and so they played to an appreciative crowd. Brilliant time after time, they made sure their headline show was one not to be missed. Tonight they went down a storm with their poppy guitar hooks and riffs and danceable tunes. It was such a shame that due to it being holiday time the venue wasn’t as packed as it usually is, so a lot of people missed out on what can only be said is a fantastic band that are going to hit the mainstream with a bang. RICHARD SAMUEL
Fish In A Tree
Clwb Y Bont, Pontypridd
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T featured on PLUGGED IN’s Issue 4 cover-mount CD) and Hold Tight — it was a bit hard not to stay still as they got you moving and throwing shapes. Nothing New (www.myspace.com/ nothingnewuk) were on next, with their brand of American-style punk strongly influenced by Green Day and early Blink 182. Through the sideward baseball hats and the baggy jeans are some solid tunes and a band that play
he first ever August Fight Night saw a return to the pure metal genre, with first band to hit the stage being Sumerian Eden (www.myspace.com/sumerianeden) performing their brand of heavy scream metal. Energetic, highly charged which packs a punch like an exploding stick of dynamite rammed down your throat. The next band The Long Awaited (www.myspace.com/thelongawaited) were from the same genre and making their debut appearance tonight, something which Fight Night helps many breaking bands do. Their energetic raging metal filled the room with power-packed bursts of screams and loud and thunderous metal riffs. A fantastic debut and hopefully more of the same to come. Next up Hand Of The Daedra played a brilliant set as always, though sadly it was to be one of their last ever shows as the boys have parted company since. Being added to the bill with only two hours before doors opened, Death Of An Icon (www.myspace.com/ deathofaniconband) rocked the stage to full effect. Mark hammering away at the drums, Danny (vocals) jumping around and Bob and Owain playing guitars like rock gods putting on an impressive performance with echoes
ith support from metal boys The Long Awaited and pop punksters Nothing New, Fish In A Tree (www.myspace.com/ fishinatreeband) took to the stage. They initially look like a 12 Gauge Alliance side project with three of the members being from 12GA simply having Charley on vocals. This couldn’t be further from the truth though, as FIAT have been going a lot longer and have appeared with comedian Rhod Gilbert on his BBC TV programme Teen Tribes. Playing uplifting bass hooks and poppy emo guitar riffs these guys have found their own brand of emo-pop-bubblegum tunes such as Keep Your Friends Close and Scene Queen, which kept me interested in their sound. An unlucky night for them however because the PA system didn’t give them the justice they deserve. There is definitely a spark about this band who write good, clever, power-pop songs — and hopefully at their next gig the technical equipment will make them shine as bright as they should. RICHARD SAMUEL
Franz Ferdinand
live performance
The Point, Cardiff
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slight mist pervades the air, like at the beginning of a storm that is to come, but it’s from the heat of the sweat of the audience inside a boiling hot music venue. Former Mercury Music prize winners and collectors of many accolades from the likes of NME, Q and the Brits, Franz Ferdinand (www.myspace. com/franzferdinand) were about to perform and the people were ready. The band casually strolled up to their instruments belying the explosive energy that they then sent forth as they struck the first notes. Frenetic and jumpy in their playing style and with pumping vocals their performance is 100% full on, smashing out numbers from their two successful albums, the self-titled Franz Ferdinand and You Could Have It So Much Better, including the infectiously sing-a-long Do You Want To and the chantinducing Take Me Out. The audience’s arms are flung high in appreciation, fists raised to the roof as the machine gun shots of the drums beat out across the auditorium while a conveniently placed large fan sends waves of air over the crowd. It doesn’t cool the performance down one little bit. This must have been one of the hottest gigs I’ve been to this year alongside Funeral For A Friend’s TJs performance, and I don’t just mean the room temperature. Watch out because they’ll be back once their third album hits the shelves in early 2009. DW
Box Of Thumbs Buffalo Bar, Cardiff
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or the launch of their EP, God Hates Cardiff, Box Of Thumbs gave away a copy to everyone who turned up (nice touch). I wondered what the turnout would be for this gig as grunge has had its day hasn’t it? Or are the Nineties dangerously close to becoming nostalgic fodder for the now affluent alt-rock 30-somethings? Support act Jews In The Fourties (www.myspace.com/entailsentrails) was not for the faint hearted — noisy and chaotic rhythms built up into a frenzy then collapsed in on themselves revealing moments of calm and melody. Almost jazz-like in its lack of apparent form, screeching guitars and distorted screaming vocals were found in abundance. Box Of Thumbs (www.myspace.com/ boxofthumbs) took to the stage and lunged into their set with a segueway
of feedback to their first track. This was altogether a different affair, with songs containing more conventional melodies and typical verse and chorus construction. Having said that, it would still be hard to deny that Box Of Thumbs had the edge. Indeed, sometimes the solos and feedback noise interludes approached over-indulgence, and perhaps a nod too far to their own lo-fi roots. Although it would be all too easy to compare Box Of Thumbs to Dinosaur JR, Pixies, Sugar and other cult alt bands of yesteryear, that would be largely an injustice as their unique weirdness does them proud. Their live act is bursting with energy and in between song banter amusing and worrying. I recommend checking them out if you get the opportunity. PIERRE RENOIR
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live performance
Y Peth
Cwmaman Institute
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t has long been believed that international film star Rhys Ifans, he of Notting Hill, Twin Town and the amazingly awful Kevin & Perry Go Large fame, was at one time the original lead singer with the Super Furry Animals. Well let’s dispel that myth right now. Rhys used to share a house with SFA’s drummer Dafydd Ieuan and they mucked about a bit but never did a live gig or anything. That is until now. Spurred on to do something while Gruff works on his solo/Neon Neon projects, Dafydd got together with a bunch of friends to create Y Peth (Welsh for The Thing), a band which features the film star Ifans on vocals. It is with this 10-strong band of merry men and woman that they decided to tour the most unusual locations in Wales, including tonight’s performance at the Cwmaman Institute, famed village of the Stereophonics and at a point in a valley that if you travelled any further you’d hit a mountain. In this mobile-free zone — just because you can’t get any service — the, shall we say, very merry Ifans takes to the stage in front of an audience who were there more for the curiosity than the music. They start a bit wobbly in more ways than just the music but soon get into their stride with Ifans ripping through the songs with his smoke influenced vocal style. Playing songs from their album The Golden Mile, named after a stretch of road in Cardiff Bay, you could hear the SFA connection coming through the music on tracks like Shoot On Site and Sunset Veranda. But what also came over to us onlookers was the enjoyment that everyone on stage was feeling, showing that no matter how famous you become, you can still enjoy lifelong friendships. Most people don’t actually do their reunions in front of a live audience though, and by the end of this tour you may find that it’ll be another 15 years before they think of getting together again — so enjoy Y Peth while you can. DW
The Red Festival The Point, Cardif
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s with the majority of other all-dayer events that aren’t Reading, Leeds or Glastonbury, the issue of keeping the crowd interested was a big one for this well-intentioned mini-fest. In theory, the line-up of entirely local bands (that were mostly of the metal persuasion), the cheap £5 admission fee and the fact that the whole thing took place at such a loved venue should have meant that crowds flooded through those big, hefty wooden doors in their masses. But in reality, of course, they didn’t. That is not to say however, that the event was a washout, as it certainly was not — many of the bands brought along their own fans and due to the considerable amount of acts booked, this mounted up to a decent
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sized crowd. As is usual at these events, the best is left til last and I enjoyed performances by Public Asylum, Monday Massacre and The Black Mausoleum before headliners The Red October (www.myspace.com/theredoctober) took to the stage. Like Monday Massacre, this is a band that I have never come away from seeing without a smile on my face or a feeling of sheer admiration for the band. They put their all into their set and were somehow spurred on to perform their guts out, which is exactly what they did. Bodies and guitars flew across the stage like old rags, and passion and anger was literally screamed at the crowd. The Red October had their hearts set on giving Red Festival a good sending off and made sure that this happened. MATT WILLIS
Manic Street Preachers Newport Centre
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he Manic Street Preachers (www.myspace. com/manics) playing Newport hasn’t happened for over 10 years, so when it did I was there to experience an awesome set — a warm up for Reading nonetheless. A vociferous opening performance of Faster resonated around the hall, stirring the tightly packed multitudes into stompy shouts of “I am an architect, they call me a vulture!” The atmosphere had already soared to a Snowdon-esque summit and remained air-deprivingly elevated throughout classics You Stole The Sun and Motorcycle Emptiness. A steely version of Rihanna’s Umbrella came as a bolt from the blue but was, as any Manics fans might expect, far more palatable and witty than the somewhat grating original. Nirvana’s Pennyroyal Tea was perhaps a less startling cover although equally welcome and appreciated by the fans. Passion continued to ooze both from the boys and the bouncing throng as the gig unfurled, reaching a co-operative crescendo with Design For Life, before becoming more muted and melancholy for a beautifully emotive Little Baby Nothing. Contrasts kicked in again with an animated La Tristesse Durera — although I don’t think the entire crowd pulled their weight when asked to sing along. Shame on the guilty ones! A pogo-jump come scissor-kick from the newlyskirted Wire (in Welsh flag design nonetheless) catapulted You Love Us into action, accompanied by a simultaneous flourish of his trademark boaadorned mic stand. Bradfield also commanded singular attention later on with a short acoustic spell, firstly strumming out the theme tune to BBC’s Grandstand and following with a version of The Everlasting. Rejoined by his Gibson and band mates, the Manics finished off the night reunited as a threesome with their fantastically dramatic recent release Autumn Song, and a successive strident If You Tolerate This Your Children Will Be Next. This had been an unforgettable 90 minutes, a glowing testament to the unrelenting luminosity and fervour which comprises The Manic Street Preachers’ recipe. The Reading lot were sure to be just as spoilt, but there’s something uniquely captivating about seeing arguably Wales’ greatest band in their home country. LISA DERRICK
We Are The Ocean Barfly, Cardiff
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first discovered this band after a trawl round sites on myspace and was so impressed I immediately messaged them asking when they were going to play in Wales. Well I got the reply, “Not soon, but we’ll keep you informed.” Then a few months later I got contacted and was told they were playing Cardiff, so I just had to romp on down for a listen. A fair crowd for a Monday night filled the Barfly with support from Fortune Favours, All Forgotton and the brilliant duo vocals of Canterbury with their poppy-style numbers that were thrown at the mic with zest.
We Are The Ocean (www.myspace.com/wearetheocean) hit the stage shouting, “Are you ready to wake up?” as the band broke into one of their heavy riffs. The live performance was heavier than I expected with one screaming vocalist and the other more melodic, though the performance seemed to sometimes get lost within the mix. Despite this though the set was strong, energetic and enthusiastic with lulls within it that allowed the guitarist to play some carefully constructed licks before storming back into the crux of the songs that balance their music perfectly like ebbs and flows of, well, the ocean. DW
Furthest Drive Home
Barfly, Cardiff
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nother misspent night supping on a pint of Guinness, watching some up-and-coming talent. First up was Save Your Breath (www.myspace.com/saveyourbreathband) who gave us some rocking indie pop with a scream thrown in for good measure. After the guitarist snapped a string though things got snarled up waiting for him to replace it, so the singer invited all the girls in the audience onto the stage so that they could experience a stage moment. This was a first! All fixed and sorted, the band did an excellent song Make It Out which had the girls singing along during the chorus. Entertaining. Kill The Arcade (www.myspace.com/killthearcade) were pretty much in the same vein as the previous band with a series of catchy sing-a-long numbers that were delivered with vigour and energy and some excellent guitar breaks. This lot have the potential of taking centre stage before long. That was until headliners Furthest Drive Home (www.myspace. com/furthestdrivehome) played, because then you understood what being a headliner was all about. Tight guitars, brilliant vocal performance singing a great set of well-conceived songs. No time for antics, just straight to the jugular, impressing within seconds of their performance starting. Numbers like Inside You, a great danceable pop song, and Fear Of It which started with its dreamy guitar intro, both taken from their mini-album The Complete First Series proved they were coming of age and heading upwards. This and the Guinness made it a good night out. DW
Clay Statues
Workhouse Festival, Llanfyllin
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t’s 8:58pm on Saturday 5th July 2008. In two minutes’ time a packed tent in this secluded, muddy field somewhere in North Wales is about to be brought to its knees by the sound of Clay Statues (www.myspace.com/claystatues). There has been some chat and hype about this set since we got here on Thursday night and the word certainly got around, finding room to breathe in this tent is difficult enough not to mention the distinctive smell of beer, mud and funky smoke but it certainly doesn’t dampen the spirits. It’s 9pm and Dorian Richard Holmes (bass/vocals) and Mavis Davies (drums/backing vocals) take to the stage and were happily greeted by a select few in the crowd who had obviously seen the pair before, while the rest of us ponder and prepare to figure out what all the fuss is about. Well it’s certainly easy to see now. Thirty minutes later Clay Statues walk off stage with a distorted bass guitar feed-backing off the amplifier and giving the entire crowd a chance to rest their feet and their ears. Never before had we seen an unsigned act with so much originality, anger, melody and noise mixed into one big formula. Set opener Droids and John McClane sound like an organised mental breakdown while Paramedic? and We Are Going To Need A Bigger Boat will get you dancing like a 14-year-old girl discovering Franz Ferdinand for the first time. Clay Statues were originally the rhythm section of The Firebrand. As the band drifted to concentrate on other projects, Dorian and Mavis decided to stick together to create a very loud, fun twopiece who just don’t give a damm. One of the members of Sicknote, who they have become friendly with recently, said the duo sounded like Motorhead fighting with The Rapture, and it’s quite a close evaluation of these genre dodgers. But you must experience Clay Statues for yourselves because you will certainly miss out if you don’t. SIMON DAVIES
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live performance
Elliot Minor
Sin City, Swansea
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SaidMike Barfly, Cardiff
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espite the recent hype and interest towards Cardiff’s ever growing underground nu-folk scene, tonight’s openers Man Without Country (www.myspace.com/ manwithoutcountry) are, in the eyes of many in the know, the local band to look out for in the next 12 months. This along with their hefty arsenal of tunage ensures that the majority of the punters arrive early to catch a blisteringly powerful and enticing set that is armed with tracks like Victory Stance and Handcuffs. They are not disappointed by the boys’ heartfelt and at times, moving performance. Next up was the tenderly aged 84mm — all just 16 years old (www.myspace. com/84mm). Being the heaviest sounding band of the night, this isn’t really their ideal crowd, but the band give it their best shot nonetheless and undoubtedly win over a few new fans. For headliners SaidMike (www. myspace.com/saidmike), tonight was a big night — their first show back without a synth player was always going to be daunting and made this event stand out from their other gigs, so it drew in an intrigued crowd. As always though, the Ponty boys didn’t disappoint and came back sounding (somehow) beefier and more loaded with anthems than ever. Performing a set of mostly new material was a risky move, but it really does seem like a fresh start for the band who fired out shiney new nuggets of power pop such as Antics and Perfect Mistakes that were well received by the audience. With incredibly diverse new material and a fresh hunger for success, it’s time that people started paying attention to SaidMike again. MATT WILLIS
ulling into Swansea on the penultimate date of their Skimpies & Aviators tour, York’s Elliot Minor and South Devon’s The Days prove a well balanced package with a lot in common. Expectations are high with a couple of fervent fans camping out since 10am in the morning. First up are The Days (www.myspace.com/daystheband), a youthful clean-cut bunch, with a neat line in harmony and muscular indie pop. Their sound is clear and crisp, and whilst stage space for a support act is always cramped, brothers Luke and Dan Simpkins lead from the front, vibrantly running through the piano-driven Jen, No Ties and Evil Girls with an eager professionalism and zeal. Elliot Minor (www. myspace.com/elliotminor) introduce their set with a modulated sample of what sounds like local no-goods intoning “Swansea” in our beloved accent, it’s like Aphex Twin Town coming through the PA. Another sample of I Do Like To Be Beside The Seaside, referencing the nature of the tour (if not the weather), teases the expectant throng even more before we can proceed proper. Chock full of an allages audience with a large proportion of screaming teenage girls, the place is bouncing. “You’re a cool crowd,” roars singer Alex Davies to his unofficial backing singers and it’s hard to disagree. Elliot Minor deal in neo-classical rock-pop, with the arrangements and pomp of Queen, Supertramp and Jellyfish, all charismatically brought up-to-date with hints of Fall Out Boy and Muse. Really though, it’s the riff-heavy edge and superlative vocals which elevate them to the next level, and why they are signed to Warner Bros and playing Cardiff University in November. They imbue the singles Time After Time, Jessica and The White One Is Evil with a flair and freshness which is admirable after having been on the toilet circuit for a fortnight or so, and seem genuinely excited to be on the stage. All classically trained, with a high level of musicianship ranging from Dan Heatherton’s bass drum triplets to guitarist Ed Minton’s Paganini-inspired flourishes, this precociousness is tellingly underplayed, used sparingly, and all the better for it. The touching stripped down acoustic ballad The Liar Is You is lit by the now obligatory sea of mobile phones, and by the time encores Still Figuring Out and Parallel Worlds are aired, both band and audience are spent. As the crowd file out into the night, the signed beach balls on the merch stand are flat and deflated, but no-one else is. TIM BATCUP
LIVE PERFORMANCE
Status Quo
Cyfartha Castle, Merthyr Tydfil
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erthyr Tydfil wouldn’t be most people’s first choice to place a musical event during the summer festival season — but then with its recent musical history of supplying the world with top bands like the now-split Midasuno and, of course, PLUGGED IN favourites The Blackout, you know a classic rock act like Status Quo would go down well. The day began on a side stage with a showcase of Welsh talent including One Hot Puppet, Celtic Pride, The Enormous Sizes, The Suspects, The Oratorios and brilliant Pontardawe-based The Last Republic (see our feature on page 12). The main stage lit up around 6pm as Along Came Man enthralled the ready to rock crowd with their pop/rock numbers like Michael Jordan and Kill Robot Kill. Though the stage was large they held their own, hinting at the future ahead of them. Stuart Cable with Danny Chang had been the promoters of today’s event, so you would have been pretty foolish if you thought his band Killing For Company wouldn’t be playing. Like a force possessed they took to the stage and showed the audience that an arena this size is suited perfectly for them. With Greg (vocals) punching out songs like Enemies and Even After All they got the crowd on their side — be expecting some big news from this band in the very near future! American band the Hayseed Dixie, who are a tribute band with a difference, were next up, covering classic rock songs like Green Day’s Time Of Your Life in a bluegrass-style. You’d be forgiven for thinking that the novelty would wear off after a couple of numbers, but the songs were so far removed from the originals that they became original themselves, and with their witty repartee with the crowd, this band became an instant hit with the audience. Headliners Status Quo are legends, as simple as that. Love them, hate them, you can’t but admire them for their long-time presence on the musical stage. Of course in that time they’ve learned to perfect their performance and when original members Francis Rossi and Rick Parfit hit the stage and play the first notes of Sweet Caroline you know you’re going to get nothing but a professional performance of all their hits. They piled out like an avalanche — Down Down, In the Army Now, Whatever You Want and, of course, the original Live Aid opener Rocking All Over The World. A preview of their soon-to-be-released four-CD collection Pictures — 40 Years Of Hits. Age doesn’t deter the Quo, they’ll keep going forever, performing like kings. DW
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live performance
The Stilletoes/At The Blahdy Movies/Midriff/ Officer Down/The Guffries Milkwood Jam, Swansea
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he explosive, bass-fuelled sound of punk grunge trio The Stilletoes (www.myspace. com/thestilletoes) signalled the start of a great night of music, with tracks like the L7 influenced Sownd and the dazzlingly vibrant Y Guir revealing this band’s concrete passion for the live scene. Final track Smoke ’N’ Snort drained each member’s last drop of energy with a surging melodic-ness last heard with punk legends Rancid. Next band At The Blahdy Movies (www.myspace.com/ attheblahdymovies) seem to have made a significant name for themselves recently. And it’s no wonder — punchy where punk is, catchy where ska is, impossible to get bored of. ATBM are everything you could ever want in a band — catchy, diverse, in-yourface, enthralling. And with addictive tracks like Robots Vs Scientology and Nachos For Breakfast, Tacos For Tea you’ll find yourself coming back for more — guaranteed. Midriff (www.myspace.com/thebandmidriff) came on with a replacement bassist and having had only one hungover day to practise, it was a
pretty impressive stab in the dark from this skaterpunk five-piece. But with sturdy vocals and an incredible catchiness overriding an eclectic array of tracks such as Timebomb and Again, it’s not hard to see why so many people were there in support. Seriously tough to chew, Officer Down (www.myspace.com/ officerdownuk) are a venomous bunch — lyrics were spat left, right and centre while big, fat guitar distortion reverberated around the room. Listing Strike Anywhere and Bad Religion as influences, Officer Down were bound to be a bloody affair with Ammunation and What It Takes blasting away any preconceived thoughts that these unshaven, dough-faced boys are merely a bunch of softies. Last band of the night The Guffries (www.myspace. com/guffries) played a set overflowing with oomph. Everything became a whirlwind of captivating excellence as the standing crowd finally gathered to shuffle their shoes and bob their heads. I think I can speak for every single person there in saying a bloomin’ good shindig had taken place. REBECCA COCKING
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live performance
Alphabeat
The Muni, Pontypridd
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umping up the volume and the energy level for the first night of Music in the Muni was Danish pop sensation Alphabeat. Neath quartet Friends Electric opened the gig with real star quality and energy. Who knew there was so much underrated talent in Wales? With amazing instrumentals from each of the guys and their stage confidence, I was totally blown away by their performance. With an amazing range of instruments and an awesome electro 80s sound, the guys got the party well and truly started. Whilst waiting for the Danish pop stars to take to the stage, I couldn’t get over the excitement that filled the Muni. Without the bunny ears and glow sticks I felt a tad left out. When the lights went down and Alphabeat bounced on stage, the Ponty crowd went wild. Performing hits from their debut album, This Is Alphabeat, and giving an excitable, enthusiastic and very energetic performance, the band seemed to be overwhelmed by the crowd’s adoration. Performances of 10,000 Nights and Fascination encouraged fans to sing along word for word. Going into the gig as cynical as you could possibly get, I was very dubious of what an Alphabeat gig would be like. Not my thing at all, but in honesty they were great performers — I even left deliberating the purchase of an Alphabeat CD. Easily swayed? I’d say just a glutton for cheesy punishment. BETHAN REES
The Blackout
The Muni, Pontypridd
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fter a very poptastic Friday night, I was looking forward to something a bit more to my taste. Standing on the sidelines with my notepad instead of my usual mosh pit participation, I was blown away by all three bands. A470 kick started the night with an energetic performance which I enjoyed no end. This new up-and-coming band have a similar sound to that of Bullet For My Valentine, so opened the gig with true rock style. Following them, the highly anticipated The Guns stormed onstage to the insane cheering of the crowd. With electrifying stage presence and melodic but energetic vocals, especially when performing No No Know and Kings & Queens, The Guns created the perfect warm-up for Merthyr rockers The Blackout. As always, these guys loved the over-powering admiration from the crowd as they entered the Muni stage. Sean and Gavin got the crowd jumping and chanting throughout the show and We Are The Dynamite became the chant of the night. Brilliant performances of The Beijing Cocktail, Fashion Conscious Suicide and Life & Death In Space blew the audience away. One very excited fan got up onstage and sang with the band, who didn’t appear to mind the extra member! The mosh pits, the crowd surfing and a very energetic Ponty audience seemed to make The Blackout seem right at home. “We’re still the dynamite” was one statement made by Gavin and Sean that I totally agree with. After supporting Linkin Park on their European tour, the standards were set and the expectations were high but The Blackout, judging by their performance, were not worried in the slightest. The band was on top form and although this was my first time of seeing them, it definitely won’t be my last. That’s what you get when you put a little bit of Wales into Europe — dynamite! BETHAN REES
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Ponty’s Big Weekend
Ynysangharad Park, Pontypridd
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unshine on Sunday was welcomed with open arms by the organisers and visitors alike. For a more chilled out gig after Saturday night’s chaos in the Muni, people made their way to Ynysangharad Park for a day full of performances by various artists. Comedian and Ponty boy Chris Corcoran entertained the crowds in the summer sun and introduced the likes of Cor Meibion Pontypridd, Mal Pope and daughter Daisy Blue, duo Daz and newfound Valleys star Kadesha. The excellent talent of a girl just 15 years old amazed the audience with her stunning voice and confident performance. Go:Audio also made their Welsh debut and it appeared that the Ponty audience loved every minute of the rockers’ set. They played their well known singles Made Up Stories and She Left Me, showcasing their unbelievable talent. Hopefully, they’ll return to Wales in the near future for a repeat performance. Following this, ex-Fame Academy student James Fox showed what Wales has to offer with his uplifting set. After releasing Bluebirds Flying High earlier this year for Cardiff City’s FA Cup Final test, Fox was back on top form for the Welsh fans. Ynysangharad Park didn’t know what had hit it when Scottish star Sandi Thom took to the stage and performed her
fast-paced set, which included chart toppers What If I’m Right? and I Wish I Was A Punk Rocker. Her awesome performance got the audience ready for the headline act. The chanting, singing and high demand couldn’t have kept this past X Factor contestant away — Rhydian Roberts was the highlight of the entire concert. Powering on to the stage in a white fur coat, singing to the pop hit Get The Party Started was a man brimming with confidence and sophistication. The crowd went crazy for Roberts and it wasn’t long before everybody was singing and getting into the party mood. A sea of paper flags was waving from the crowd in the park and many Rhydian t-shirts were worn with pride. After a few technical difficulties that led way to a brilliant improvisation of the old classics Danny Boy and Myfanwy, the show stepped up a gear with Roberts donning a phantom mask and singing Phantom Of The Opera to a by-now ecstatic audience. I didn’t realise how big a Valleys star Rhydian Roberts actually was, but judging by the thoroughly excitable audience of all ages, I’m going to say he was definitely their X Factor winner, their music of the night and an example of what Wales is really all about. BETHAN REES
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CDs, EPs Downloads & Demos The Arteries Sweat (limited edition ep) www.myspace.com/thearteries A collection of songs that sound quite similar. Some good hooks and riffs from the guitar, some madman frantic-paced drumming and more shouty singing. This would make a perfect addition if you’re looking to make an alternative Tony Hawk game soundtrack. Interesting! RS Evil I (four-track demo) www.myspace.com/evilimusic The first track kicks off on a start/stop of heavy distortion swiftly followed by rampant guitars! guitars! guitars! setting the tone for this four-track ep. Sustained vocal notes remind me of Ian Watkins but much deeper. Evil I are a guitar-based band in every sense of the word judging by this. GB
Mogwai The Hawk Is Howling (album) www.wallofsound.net So how do you describe an album of instrumentals by a band you’ve never heard before? Hmmm… a tough call, this. Mogwai have had singles in the top 75 since the late 90s but have totally passed me by and these 10 songs ain’t likely to change that. Much of this epic, swirling collection wouldn’t sound out of place on a movie soundtrack. Batcat could provide the backing for a film’s car chase scene, while Local Authority sweeps us away to a sun scorched desert. File under not-so-easy listening. SM
Frightened Rabbit I Feel Better (single) Fat Cat Records Astute musicianship and unique vocals make you sit up and take notice of Frightened Rabbit. Backing vocals play an integral part to the sound of the band. First track I Feel Better gets you hooked soon as the bassline kicks in. For me the second track, The Twist, is the stronger of the two showing off the skills of the band and backing vocals. GB 38 PLUGGED 38 PLUGGED IN IN
Black Tide Shout (single) www.myspace.com/blacktide A heavely distorted voice kicks off this song and when it gets into full swing it’s a bit like Metallica at their most melodic at first but then you get the chorus and it’s more like Motley Crue. Squealing guitar solos playing in 9ths brings 80s metal into the year 2008. Like it! GB
Scars On Broadway World Long Gone (single) Polydor Records Modern American rock that blends in with the current crop of bands such as Billy Talent. A smashing riff to open and close the song which had me grabbing my air guitar. A single which didn’t get my finger going for the off switch but neither stuck in my head. Worth a listen. RS
Conor Oberst Souled Out!!! (single) Witchita Recordings Just one question – why have they used three exclamation marks in the on this tracks song title when one would do? e r e All 12 w album d Punctuation quibbles aside, Souled n o , c d se ge , arran Out!!! is a pretty neat tune with a written ed and Country-rock feel and solid drumming produc y South ed b m r providing the backbone. The main e o t f r n pe ole -born V esh n a vocals are a little like a tuneful Bob ic r f A lfl t Digita h. I unday Dylan while midway, there’s a S y t n Lloyd a r n a Pen st su d in la e s it e u h io strange, girlie giggle which sounds s t d stu nd it is on k d to th ptember — a in e h n like it’s been dropped in the mix T e t . s ly li e t on in S perfec cals and almost by accident. “And you won’t o afterno d of the day v t o Of be getting in...souled out!” shouts swee the mo itar, honey- le like Voice u t g t r li u ic o a t the anthemic chorus. Dunno what sk y s— acous rmonie pop band — a SM a h y m ) they’re on about — but this could s ! 0 e r 8 drea ( a they ehive become a theme song for club The Be ’ll know who e dad, h doormen everywhere. SM e Volent y (album) wa A ll a F s flies Butter ckrad Record Do
I Am Ghost Those We Leave Behind (album) Epitaph Records The latest 14-track CD from this Californian four-piece band is set alight with songs of love, desperation and tragedy. I enjoyed listening to this as it was quite reminiscent of fellow Californians Shiny Toy Guns, although with a bit more screaming and a little less electro vibes. Download standout track Don’t Wake Up for a little taster. RS The Enormous Sizes The ‘7 Amazingly Perfect Songs’ EP www.myspace.com/theenormoussizes I was pleasantly surprised by the opening track On And On especially with the use of piano and guitars with the echo effect which works well together. Some say that you can judge a band by their choruses, if so then The Enormous Sizes are an energetic bunch whom we are all familiar with. Heaven Help is lyrically strong, while Can’t Stop The World reminds me of those summer days in the park, lying down in the grass watching the clouds drift by peacefully. If you can’t chill out to this ep then you must be morally deaf. GB
Brigade double A side single www.myspace.com/brigade Big choruses and melodies on this two-track CD are the main emphasis with first track Sink, Sink, Sink being the stronger track with the guitars reminding me of an early QOTSA track, but a much better chorus is found on the other track Stunning that you’ll find yourself singing along to. GB
Rhythm Method The Front (ep) www.myspace.com/ therhythmmedthodofficial There’s a moddish feel to this five-track ep recorded at The Cathedral in Cardiff – and that’s no bad thing. Opener Sunshine Lazy has a groovy organ solo while The Front (A Constant Flow) has a space-age ska vibe and cheeky ‘ya ya!’ chorus. The Rhythm Method have found their own groove here and on the strength of these songs, I’d go to see them play live. Result! SM
Glasvegas Glasvegas (album) Sony/BMG When the first bars of the album opener Flowers & Football Tops kicks in you feel you can sum up Glasvegas – 1950s American rock ’n’ roll-influenced sound with a bit of the Ramones End Of The Century era thrown in for good measure. But it’s the lyrics that set this collection of songs apart from the other new young pop punksters on the scene and places them into the realm of brilliant. Angst and venom ooze from every line that vocalist James Allan has penned. This is his view of the breakdown in society today, from pointless violence and murder to social workers’ roles within that world as a common face. The single Daddy’s Gone is an anthem of today’s disaffected youth spat out at all family disintegrations everywhere, highlighting a teenager’s acceptance of his father’s desertion and the affect it has on him. Prepare yourself for the best album of the year.
The Automatic This Is A Fix (album) B-Unique Records Things can’t have been easy in The Automatic camp over the past year. After the success of Not Accepted Anywhere and its catchy hit single Monster, they were placed on a pedastel high above most emerging bands. Crashing back down to earth they had to produce the notoriously difficult second album — and this was after the departure of their shouty keyboard playing backing vocalist Alex Pennie who had added a uniqueness to their performances. So it’s not a surprise that listening to This Is A Fix is like listening to another band altogether. Okay Rob’s voice is still there but this is a harder, tougher take on all-comers Automatic. Playtime is over, time to work. This new album’s strength is shown in highlight tracks Magazines and This Ship as well as the perfect pop/rock combination of the first single Steve McQueen, a song about trying to escape. Well, The Automatic have produced that great escape, riding off on that German WW2 Zundapp and have leaped the barbed wire fence to freedom, unlike the afore-mentioned superstar who got tangled up along the way. DW The Last Republic CCTV, Lets Make Bombs, When Fools Rush In, Hear What I Said (promo ep) A superior and strong four-track ep from the Pontardawe Punksters. CCTV opens suddenly and you’re straight into the thick of it with rhythm and vibes that bite into your flesh while Lets Make Bombs, for me the strongest track, is an anthem to all us post-nuclear agers with its infectious sing-along chorus. Bleak and grey in their outlook of today’s world the songs still add a sparkle as these boys become our defender, our only hope. Excellent!
Cuba Cuba Bats!, Visualizer, Fountains, Subtitles(S) (4-track promo) If you listened to our free cover-mount CD with Issue 4 you may have found, like us, that despite all the talent we placed in front of you one track stood out from the others. Everybody’s list of favourite tracks on that compilation included Visualizer, and in its naively infectious way Cuba Cuba pulled you in with their unique pop sound that seemed to include everything within its four minutes — including the glockenspiel. Well the boys are back, with this Romesh-produced four-track ep and they have got some meat on their bones. They still retain the quirky sound and drift towards interesting soundscapes within their music as heralded in Subtitles(S) but they’ve added an edge. If they retain this standard Cuba Cuba are set to rule the world and, I promise, will become the new Welsh Phenomenon. DW Kali While The City Sleeps (album) One Little Indian Former front man of Icelandic band Without Gravity comes back to the forefront of musical taste with this hypnotic array of beautiful songs. Dreamlike and sometimes doom-laden, as if watching the approaching darkness of an arctic winter, his personal trawl though an array of emotions is for our benefit. Emotionally affecting, this is a strong set of carefully constructed songs. One Man Down Rest For Another Day (demo) www.myspace.com/omdofficial No messing, this is 1,000-mile-an-hour indie punk that reminds me of Stiff Little Fingers, which in my mind ain’t a bad thing. Thrashing guitars that takes me back to 1979. Start pogoing now! KC Ideology (ep) Horsepower Records Electro blips with a right-on mockney sounding rap from Newport’s KC comes across as a bit of a wannabe but can’t be. Some annoyingly tenuous rhymes, “Boys are insane making girls feel like they’re insane”, just don’t cut it when you’re trying to play the same game as Jay-Z or even Goldie Lookin’ Chain. The potential is there and when I saw her live supporting Head Automatica last year she came across much better than these five-recorded tracks seem to show.
send your CDs for review tO: The Editor PLUGGED IN magazine Haul Fryn Publishing HAUL FRYN Courthouse Street Pontypridd CF37 1JW
Winch House Sweet Taste of Summer (single) Altsounds Records The debut single release from this Haverfordwest-based band is a strong steadfast piece of music of epic proportions. With a tune that grows in stature while you listen, this song explodes into a piece of excellent pop rock. Stadiums await these guys. Mudjack Follow Me (4-track ep) Bluesy kick rock with a hint of Dr Feelgood about them. Gritty in both the vocal performance and the instruments that are sung over them, both combine to give a strong sense of attitude. Follow Me Down is good old rock ’n’ roll, but I loved Barrabas for which I needed to sit in my old rocking chair on the porch and sip some Jim Beam.
Intensive Square Ends, Trapped In A Cube, Gastric Emptying (promo ep) Relentless, frenetic, machine gun screamo progressive metal from these Cardiff boys. Though somewhere in the mosh you’ll find the sound of a saxophone and a few experimental fringes. Interesting. Nochaa Tourtured To Death (promo album) With a title like this you know exactly what you’re going to get. Growled vocals that brutally declare war on everything around them over strong death metal riffs that are actually quite tuneful in places. There’s 10 tracks in total, if you can survive that is! Through Solace The Stand (six-track mini album) Hold Fast Records I saw screamo rockers Through Solace at an early Fight Night here in Pontypridd who unfortunately played to a near empty auditorium. Excellent performance then and that comes through on these six tracks. Tides is a great opener and is enough to prove that they’re going to be at the forefront of the Welsh metal scene.
Shelleyan Orphan We Have Everything We Need (album) One Little Indian It’s been 17 years since Shelleyan Orphan have released an album and when I say they’ve come back with the strings and woodwind section of the Hungarian National Radio Orchestra as part of the credits, don’t expect any heavy guitars. Ethereal and melodic they blend various forms and styles, including many hints towards Celtic musical routes and give us a gift of luxurious craftsmanship.
send your CDs for review tO: The Editor PLUGGED IN magazine Haul Fryn Publishing HAUL FRYN Courthouse Street Pontypridd CF37 1JW
Bryn Christopher My World (album) Polydor Records This is another of those retro produced singers gleaming artistic style from a bygone era, but like Amy Winehouse, Duffy and Glasvegas can hold his head up high due to the talent of his soulful performance. On tracks like My Kinda Woman and the single The Quest Bryn’s voice comes over so sweet and feminine that it originally took me a while to believe a man was singing, let alone a guy from Birmingham — am I thankful he doesn’t sing like Jasper Carrot! Sour Times goes down as the most interesting cover version of the year.
Swound Hello Future, Our Name Is Swound (album) Stressed Sumo There is something quite un-nerving listening to Swound, like they don’t fit anywhere. They can only be placed on a shelf listed under Swound. Great bass, strong guitar, but with lines like “Let’s throw the children down the well” I won’t be asking these guys to babysit for me, cos they are total lunatics. But bloody good lunatics at that!
Whytel No No No, Lisa, Senorita, Angel (ep) www.myspace.com/whytel Danceable indie pop with stuccato vocals verging on rap, mixed with beautiful backing vocals that blend with a rock backdrop. Simple yet irresistible, a kind of Black Eyed Peas type thing. They’ve got quite a funky sound going on, especially on Angel which is, for me, the strongest track of the four.
The Story So Far Are You Ready? (demo) www.myspace.com/tssf At two minutes and 23 seconds this was by far the shortest track I had to review. But, boy, did they fit it in. An excellent piece of power pop with good vocals over a well-structured song. Are You Ready? could easily be your crowd pleasing happy jumping number at every Christmas party.
Die! Chihauhua Die! Action F*** Action, Happy Song, Brian Malden (download) www.myspace.com/diechihauhuadie Stand back and take aim because these guys are going straight for your head. Bricks will be flying as you listen to this fest of hardened punk rock which is aptly described on their myspace as “four people arranging some noise”. Correct, but what great noise.
Miley Cyrus Breakout (album) Hollywood Records One of those annoyingly right-on American Pop princesses that sing about hating school and saving the planet while being driven around in mommy’s fuel guzzling four-wheeldrive tank to and from her private tutor. The type that inhabit programmes like The OC or look like the Olsen sisters or, wait for it, Hannah Montana. Sh** she is Hannah Montana! Though this album comes across as superficial and blatantly obvious commercialism I have a problem. After trying to lift this heavy chip off my shoulder I found Miley Cyrus annoyingly likeable. Arrrrgh!! So listen out for it while I ring Swound and check myself into their luney bin. DW
Geiriau gan Maria Murphy Mae Genod Droog yn enw cwl ar fand, yn amlwg wedi’i ysbrydoli gan A Clockwork Orange. Oedd gennych chi unrhyw genod drwg mewn golwg pan wnaethoch chi feddwl amdano neu a ddaeth yr enw heb unrhyw reswm. Fe hoffwn i allu dweud fod yna enethod drwg gennym ni mewn golwg, fel arbenigwyr ping pong o Wlad Thai neu’r ddynes ar Film Monster, ond yn anffodus, doedd yna neb. Rhyw enw ffwrdd-a-hi oedd e’, ac o edrych yn ol, fe allen ni fod wedi cael enw gwell! Rwyn meddwl fod rhai yn meddwl mai band sy’n gwneud rhywbeth newydd anarferol ydyn ni (fel criw o fechgyn yn mynd i gig wedi’u gwisgo fel stripars Cymreig), oherwydd yr enw, felly wrth edrych yn ol, efallai dylen ni fod wedi dewis galw’n hunain yn rywbeth llai anarferol. Mae’r band wedi’i sefydlu ers 2005, rwyn credu. Oeddech chi’n nabod eich gilydd cyn hynny? Oedden, roedd rhyw gysylltiad rhyngon ni i gyd rywsut — roedd Gethin, Kim de Bills a finnau yn yr ysgol gyda’n gilydd, ond eu bod nhw flwyddyn yn hyn na mi. Arferai Gethin a fi fod mewn gang saith blynedd yn ol. Rats oedd enw’r giang ac fe wnaethon ni frwydro yn erbyn giang o’r enw Mad-dogs. Colli wnaethon ni, rwyn meddwl, a rhoi’r gorau iddi. Yna fe wnaethon ni gychwyn giang arall o’r enw Monster Club. Roedd Ed a fi yn nabod ein gilydd gan i ni fod yn y band Pep le Pew gyda’n gilydd. Ac rwyn meddwl i Ed a Nei gyfarfod yn 2003 yn yr Eisteddfod — fe fydden nhw’n treulio’r nosweithiau yn freestyling i’w gilydd, roedd yn eithaf rhamantus. Beth wnaeth i chi benderfynu ffurfio band? Sut wnaethoch chi ddechrau? Roedd Gethin, Carwyn ac Ed yn byw gyda’i gilydd mewn un ty mawr hapus. Roeddwn i’n byw ar fy mhen fy hun, felly meddyliais, “Hmm, os gallaf eu cael nhw i ffurfio band gyda fi, efallai y bydd gen i ffrindiau!” Hefyd wedi i Pep le Pew roi’r gorau iddi, doedd gan Ed a fi ddim cyfle i fod yn greadigol, felly roedd yn gwneud synnwyr i ffurfio band gyda ffrindiau, yn hytrach na ffurfio band ac yna gwneud ffrindiau. Fe ddarllenais yn rhywle mai eich hoff le i berfformio’n lleol yw Clwb Chwaraeon Madog. Pam hynny? Mae’n gyfleus ar gyfer cludo offer! Mae Gethin a gofal un noson yno ac mae yna griw da. Wedi’r sioe, mae yna barti mawr yn rhywle. Ond rydyn ni’n hoff o ware unrhywle arall hefyd! Ni’n joio unrhyw gig rilli.
Byddai llawer o bobl yn dweud eu bod wrth eu bodd a’ch cerddoriaeth ond yn ei chael hi’n anodd i’w ddeall am ei fod y rhan fwyaf ohono yn y Gymraeg. Beth yw’ch barn am hyn? Mae’n sefyllfa anodd oherwydd gorau oll po fwyaf o bobl all deimlo’n rhan o’n cerddoriaeth. Ond, fel y dywedodd Gruff Rhys, “mae cerddoriaeth yn iaith ryngwladol”, felly ar y llaw arall, ni chredaf fod gan y geiriau ddim i’w wneud a’r mwynhad. Y swn maen nhw’n greu sy’n bwysig ac mae hwnnw wedi’i ddisgrifio fel “ci yn cael ei gicio yn ei wyneb gan drempyn.” Ydych chi’n meddwl ei bod yn fwy anodd i ysgrifennu caneuon yn y Gymraeg. Ed a Nei yw gyfansoddwyr y geiriau, er ein bod i gyd wedi cyfrannu o bryd i’w gilydd. Dydw i ddim yn credu ei bod hi’n fwy anodd ysgrifennu’n y Gymraeg gan mai dyna’r iaith y byddwn ni’n meddwl ynddi, felly mae’n llifo’n haws, rwyn meddwl. Wedi dweud hynny, dydw i ddim yn meddwl fod ysgrifennu Saesneg yn anoddach, dim ond ei bod hi’n haws o bosib syrthio i’r fagl o ysgrifennu am bethau amlwg neu ystrydebol. Mae geiriau Saesneg wedi’u cynnwys a’u cymysgu i’ch rapio — fel sydd ar El Diablo. Ydych chi wedi ystyried recordio albwm yn yr iaith Saesneg fel Duffy? Mewn byd delfrydol, byddai’n dda cynhyrchu record Saesneg, ond yn ymarferol a pholiticaidd, rwyn meddwl y byddai’n haws recordio yn Saesneg o dan enw arall. Byddai’n cadw pethau ar wahan, fel na allai pobl droi a’n cyhuddo o droi ein cefnau ar yr iaith. Fe hoffwn i recordio albwm Sbaeneg a Ffrangeg hefyd gan fod Nei yn rhugl yn y ddwy iaith yna. Ffarwelio a Phrydain a byw ar deithiau Ewropeaidd. A hefyd, mae’n well gen i fwyta paella na phwdin Efrog. Sut ydych chi’n teimlo fod y sin gerddorol Gymraeg ei iaith yn cymharu a’r sin gerddorol Gymreig ar y cyfan? Yn y gigs rydyn ni’n tueddu i chwarae ynddyn nhw, does fawr iawn o gymysgu Cymraeg a Saesneg, ond rwyn meddwl fod y sin Gymraeg ei iaith yn dibynnu mwy ar deledu a radio. Gan ei fod yn derbyn cymorthdal, mae’n haws derbyn cyflog ac o bosib yn haws cael tal teg am berfformio mewn gigs. Mae gan hyn ei anfanteision gan fod llawer o stwff Cymraeg ei iaith yn wael ond yn cael mwy o sylw na stwff da iawn Saesneg ei iaith. Byddai’n dda o beth i fedru cymysgu. Rwyn meddwl fod hip hop yn benthyg ei hun yn dda at gymysgu ac
mae Ed sy’n rapio wedi gweithio tipyn gyda bechgyn Headcase a’r criw yng Nghaerdydd, ac maen nhw’n tueddu i barchu’i gilydd. Nid yw’r sin indie, ar y llaw arall, yn tueddu i gymysgu, ac mae hynny’n drueni gan y byddwn i’n croesawu’r cyfle i berfformio mewn gigs gyda phob math o fandiau a phob math o gerddoriaeth. Sut brofiad oedd perfformio Wyddfa? Oer, gwlyb a rhyfedd!
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gopa’r
Oes gennych chi gynlluniau ar y gweill i berfformio mewn mannau anarferol eraill yn yr awyr agored? Pe byddai’n bosib, fe hoffen ni berfformio pob gig mewn lleoliad anarferol – ystafelloedd ffrynt pobl, cartrefi hen bobl, Castell Caernarfon, ogofau, a stryd fawr Blaenau Ffestiniog. Ond yn y byd sydd ohoni, byddai’n amhosib. Efallai, ar gyfer lawnsio’r albwm, fe wnawn ni feddwl am rywbeth — pwy a wyr... Ydych chi wedi cyd-weithio ag unrhyw gerddorion Cymraeg enwog? Os nad ydych, pwy hoffech chi weithio gyda nhw yn y dyfodol? Rydym wedi cyd-weithio a Heather Jones, sef brenhines y sin gerddoriaeth Gymreig — roedd hyn yn fraint ac yn anrhydedd. Rydym wedi gwneud stwff gyda Cate le Bon a Gwyneth Glyn hefyd. Rwyn meddwl yr hoffen ni roi tro arni gyda Gruff Rhys o’r SFA, a Richard James, efallai. Y tu allan i Gymru, byddai’n freuddwyd i gael rhywun fel Dangermouse i gynhyrchu. Pa gerddoriaeth ydych chi’n gwrando arno yn y car? Dydw i ddim yn gyrru, ond pe byddai gen i gar, fe fydde’n gar neis, ac fe fyddwn i’n gwrando ar Last Shadow Puppets a Bon Iver. Mae Kim de Bills yn gwrando ar lot o funk, tra bod Ed yn dewis naill ai hip hop neu Kasabian. Mae Nei yn gwrando ar reggae yn y car fel arfer a Gethin yn rhy grintachlyd i brynu stereo felly mae’n gwrando ar swn yr arian man yn ei boced. Lleoliad Gig Ffantasi? Stadiwm y Mileniwm neu wyneb yr haul. Wil Cwac Cwac neu SuperTed? Am gwestiwn anhygoel! Ha ha! SuperTed bob tro. Mae Wil Cwac Cwac yn hybu trais yn y cartref felly dydyn ni ddim yn argymhell hwnnw. Ac wrth gwrs, Geraint Jarman oedd llais SuperTed, felly all hynny ddim bod yn ddrwg. Ar ben hynny, mae SuperTed yn gwisgo pyjamas Genod Droog i’r gwely!
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LAST 10 QUESTIONS
Cuba Cuba are five beautiful, talented, special and sophisticated young gentlemen making music. In early 2007 they spawned from a log cabin in the mountains of Groeswen. The five boys began to express their deepest and darkest fears on to pieces of paper, gradually morphing them into disgustingly insane and magical pieces of music. After sorcery from wizard Todd Campbell in the sacred well of Skwad HQ they battled onwards and upwards until in mid-2008 they came across the Prophet Ryan Richards who foretold them of glorious times to come. Under his guiding hand, they hope to bring forth a new era... So, throw down your swords and join them on their quest for fame and fortune. PLUGGED IN: How did your song Bonus get used on the Rugby Grandslam DVD? CC: It came about through a contact. Members of the WRU heard Bonus and thought it would be suitable for the DVD so we said yeah! Watching
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the final scene of the DVD with Bonus in the background brought Sion to tears. He actually went through a whole pack of Kleenex. PLUGGED IN: What’s it like hearing Bethan Elfyn playing your songs on air? CC: Well we actually sent the tracks to Huw Stephens and he said he liked them and so passed them on to Bethan. Now we just send our new tracks to her and if she likes them she’ll play them. PLUGGED IN: How weird was it when you heard that you’d topped the world music charts in Canada? CC: We thought it was just awesome but then we looked into it and we found out that it was a chart decided by just one man on a small Canadian radio station in the mountains of Calgary. We were completely gutted, but then we thought at least we know that one guy in Calgary likes us, right?
PLUGGED IN: You’ve recently recorded your EP at Longwave Studios. How did that happen? CC: We’re very lucky that our new manager [Ryan Richards from FAFF] arranged for us to record a four-track ep with Romesh at Longwave in Cardiff. It was awesome and we hope the new tracks get lots of airplay. PLUGGED IN: You guys have come on a lot since we saw your first ever gig in Clwb Y Bont. What do you put this down to? CC: We don’t like to talk about that show. I think it’s safe to say we don’t drink before playing shows any more. PLUGGED IN: This summer you’ve been touring a lot around places in Wales and the UK. What’s been the best experience so far? CC: It’s definitely on the up and up — the Surfstock Festival was an amazing experience. It was our first ever festival. You have no idea how mental Cornish people really are.
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PLUGGED IN: What’s been the lowest and the highest point of your short lifespan as a band so far? CC: Playing in a pub in Pontypool was simultaneously the lowest and highest point the band has had. On the one hand it was just the most demoralising thing we’ve ever done, on the other hand we changed an ex-convict’s life that night — so it was well worth it. PLUGGED IN: How important do you think the myspace page is these days for bands? CC: We think it’s still important but there are many alternatives now and we believe that if a band is writing good music they’ll get the recognition they deserve some way or another. PLUGGED IN: Will the band be doing more gigs when you all go back to University at the end of September? CC: Yes we will — and we’d love to play a Christmas gig for PLUGGED IN! The magazine has been hugely influential for us, as it was where Ryan first heard about us and we really thank you for that. PLUGGED IN: Finally what is the best bit about Cuba Cuba? CC: The best bit is definitely sitting down with our poetry club, sipping port and just talking. BY RICHARD SAMUEL
THE MUSIC MAGAZINE FOR WALES
the first year
An Exhibition of Words & Pictures The Muni Arts Centre, Pontypridd 11th October - 22nd November 2008