Sŵn Festival 2016

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presented by

CARDIFF STUDENT MEDIA



It cannot be denied that Sŵn festival’s 10th anniversary was quite a special one. It’s a year where we are so thankful to have been at the heart of the action throughout the weekend. With it being the big one, here at CSM, we decided to pour out our blood, sweat, tears and potentially degrees into making some amazing Sŵn festival coverage for 2016. Sŵn has such a special place in the hearts of our media team, with it being a weekend full of hard work, good music and ridiculous amounts of fun.

SWN CO-ORDINATER Erin Brown EDITOR George Caulton DEPUTY EDITOR Alice Dent HEAD OF DESIGN Eleanor Parkyn DESIGN CONSULTANT Jasper Wilkins CONTRIBUTORS Alice Dent Alyssa Alamillo Eleanor Parkyn Erin Brown George Caulton Sadia Pineda Hameed Sophie King WITH THANKS TO THE ORGANISERS OF SWN, CUTV & XPRESS RADIO.

To be the CSM coordinator this year has been such a pleasure. The entire notion of bringing together upcoming venues, promotors and artists is what gives Sŵn festival its edge and uniqueness, and to be a representative from a student body, is such a great experience. Sŵn creates a community; everybody is there to give each other a hand, find some beautiful music and potentially get drunk (which we did, of course). As far as weekends of music go, it was insane. From electronic pop to chilled acoustic, from jazzy funk to hardcore rock, Sŵn gave played all its cards. It was like being a child in a sweet shop. We found ourselves howling at Dingus Khan, crying to Plastic Mermaids and grooving with Melt yourself Down. Everybody’s hard work prior to and during Sŵn has been immense, and we have somehow managed to overlook our university deadlines and dreadful hangovers to frantically pull together this baby that is our Sŵn’s 10th anniversary multimedia magazine. I hope you enjoy what we have put together, from yours truly; Cardiff’s student media (Quench, Xpress and CUTV). Thanks Sŵn, it has been a good one! Until next year… - ERIN BROWN (CSM’S SWN FESTIVAL COORDINATOR)

SPECIAL THANKS TO CHARLIE KNIGHTS AND JAMES MCNEILL CLICK TO HEAR THE XPRESS RADIO COVERAGE OF SWN


WORDS BY GEORGE CAULTON

Music has inspired generations of people. Bands from different eras still continue to find an essential place within our Spotify playlists. Think The Beatles, Prince and The Specials. Music shapes society, it shapes people, as well as the individual. Throughout the duration of the weekend, there was no better way to celebrate ten years of Sŵn festival than through a music museum in Castle Arcade. Though tucked away from the heart of the music scene, the team, alongside Cardiff University’s Festivals Research Group, used the music museum to emphasise the importance of music through stories, memorabilia, memories and short films, which reminded people and visitors alike of their love and need for music. Each poster, vinyl and essential band prop (AKA a fake gorilla head) all had their own back stories, which meant for an extremely interesting museum of all things music related and, of course, all

things Sŵn. The collection on display included original ‘T-Rex’ and ‘The Sex Pistols’ gig posters, which were given to the buyers due to unforeseen circumstances which led to the cancellation of the gigs. The museum, in short, was a celebration of the past, a presentation of the weird and a way to trophy the wonderful. In an interview with Wales Online, Leader of the Festivals Research Group, Dr Jacqui Mulville stated that "2016 has been a year of musical news, with anniversaries such as 10 years of Sŵn and 40 years of punk, the loss of high profile musical stars including Bowie and Prince, and the closure of city centre music venues such as Fabric in London. I think it is a good time to reflect on just how much music matters to us.” Music is essential to our lives, and the creative team behind Sŵn’s tenth birthday, could not have done any more justice to the museum if they tried.



MEILYR JONES

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Kicking of Sŵn's 10th anniversary with a headline show at Tramshed, who better than Meilyr Jones. Gracing us with his Grandad like attire and lanky stance, Jones brought his welsh charm, captivating vocals, and fabulous brass band to start Sŵn 2016 in style. Playing to a packed out room, Meilyr started his set with popular track How to recognise a work of Art. Jones does like to pinch an intro, but somehow still makes his music unique to himself. From the Roses intro to Waterfall that comes through during How to recognise a work of Art or Bowie's Rebel Rebel which Jones now uses as an intro to Strange Emotional; two tracks in which were a gig favourite. It is clear where Jones grabs his influences from. For example, it is impossible to review Jones without even the slightest comparison to a certain Mr Morrissey. However, I believe it is far too apparent for this to be a lack of idea and laziness but instead, is a celebration of music and inspiration for Meilyr, which oddly, makes it unique. No other artist, quite obviously and abrasively takes another persons work and yet makes it their own art which people then love. What was intriguing about Jones' set varied between bursting sounds of riffs and trumpets which was then contrasted with delicate, soft vocals followed by the sounds of a dainty keyboard from Jones himself. Through this, the gig was quite an intimate one. For instance, breaking the norms of the traditional encore, Jones made his what would be expected to be explosive return, was instead made into an intimate, lullaby. However, he had to of course end on a big one, which was a usual crowd favourite; strange emotional. A perfect way to set the tone for Sŵn 2016.


HIMALAYAS

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FENNE LILY

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Review by GEORGE CAULTON Photograph by JASPER WILKINS

After supporting the likes of Marika Hackman, C Duncan and Eaves and Palace, Fenne Lily claimed the stage as her own. With a Laura Marling vibe to her voice, the folk-tinged singer captivated the lower floor of Clwb Ifor Bach. Combined with personality, and thought- inspiring lyrics about her childhood days, Fenne Lily did more than impress. Fenne Lily told us stories of her former fifteen year old self, the way that she accidentally applied hairspray rather than deodorant on tour, as well as how she is still waiting for her brother to name one of her songs, in exchange for her naming him as a baby. Fenne Lily’s songs, though similar in tone, all tell a story. In many songwriters and their lyrics today, artists lack authenticity within their vocals, yet the melodic intensity provided by Fenne Lily provided the audience with an honest and truthful account of her life, and the people around her.

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ESTRONS

Review by ELEANOR PARKYN Estrons took the stage on Friday night at Tramshed as a worthy replacement for Spring King. Mixing alternative pop-rock with a hint of punk, the Cardiff based band were infectiously energetic. Lyrically bilingual, the female led four-piece performed in a mix of both English and Welsh; a style they have truly made their own. The powerful vocals of Taliesyn Kallstrom were

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delivered with a fierce intensity; each line punctuated by a whip of her hair; head in hands; or while drenching her band mates in water. Estrons songs, including ‘I’m Not Your Girl’ and ‘Make a Man’, are assertive and fuelled by rage (predominantly directed at men). Estrons, meaning ‘aliens’ in Welsh, certainly were out of this world!

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DROWNERS Review by ALYSSA ALAMILLO New York outfit Drowers made their gig at Swn a fitting end to their second headlining UK tour. Made up of Jack Ridley, Erik Lee Snyder, Daniel Jacobs, and Welsh frontman (and Cardiff University alumnus!) Matt Hitt, the band impressed the small but lively crowd at Clwb Ifor Bach. The group’s 45-minute set was packed with catchy, upbeat songs. Older tunes like “Long Hair” and “Luv Hold Me Down” proved to be fan favourites, having the mostly young, adolescent crowd dancing and waving their long tresses around. New tracks like “Another Go”, “Pick Up the Pace”, and “Someone Else is Getting In” received some nods and bounces among the hardcore fans and curious festival attendees alike. Perhaps not as packed and energetic as their headline shows, their festival performance was still the sight of a good time amongst Swn goers. If classic heartbreak and young love tropes paired with fun, Smiths-reminiscent melodies are your thing, then Drowners are the band to catch.

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BRYDE

Review by ALICE DENT LISTEN TO THE FULL 10 MINUTE

Don’t be fooled by first appearances. Self-proclaimed “fierce and fragile” Bryde lived up to this claim, demonstrating her powerful vocal to a packed out Clwb Ifor Bach. Filling the spaces in between songs with humorous anecdotes about her life, the crowd were undoubtedly charmed by the Welsh singersongwriter. Highlights of her set included her first release, Wait, a haunting track which surely sent chills down the spine of

every member of the crowd. Juxtaposing some of the indierock bands featured over the course of the weekend at Swn Festival, Bryde, real name Sarah Howells, provided a change of tone with her pure vocal performance accompanied with electric guitar. After being featured on BBC Radio 1 by Huw Stephens, there is no doubt that this is not the last you have heard from her.


PEANESS LISTEN TO THE FULL INTERVIEW


ISLAND

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Review by ERIN BROWN Photograph by JASPER WILKINS

Seeing the London quartet is always a wondrous one. Making a return to Cardiff, we got to catch ISLAND play at Clwb Ilfor Bach on Saturday. Building up their name over the past year, seeing them at Sŵn festival this weekend was quite a transition from catching them earlier this year at Dim Sŵn. This time round, they managed to rack up a larger audience and an overall better crowd, which made for an insane atmosphere. ISLAND deliver quite a mellow experience. With their dreamy, melodic riffs they create a summery, chilled vibe. However, this does not mean ISLAND lack intensity; Rollo Doherty’s rustic vocals add a darker and deeper vibe to the band’s sound which at times, leave you a little ‘goosebumpy’. This was particularly seen through tracks such as Stargazer and I’ve Been Searching. This level of intensity combined with their dreamy sound is what makes ISLAND so appealing. Island are a must see band!

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PUMAROSA

Review by SOPHIE KING

With an iconically new sound, Pumarosa opened the jam-packed Tram Shed perfectly on Friday night. The five-pieced band’s debut single Preistess gained an overwhelming reaction, with the crowd engaged in every beat. Lead vocalist and front lady, Isabel Munoz-Newsome combined the ‘out of this world’ music with visually awesome dance moves to create a unique performance and an aesthetic

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success for the first night of Swn. Pumarosa’s music and style does not conform to a certain genre, yet instead breaks the boundary of the traditional music in order to provide the audience with a different, more intriguing sound. Highly recommend any readers to take a listen if they want to take a break from the average four bar melodies.

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N A IV

O M

T L U


Review by GEORGE CAULTON Photograph by JASPER WILKINS

Binary opposites of rough and smooth are never usually collated together to suggest something positive, yet the powerful intensity of Ivan Moult’s performance simply captivated the audience within the close and personal atmosphere of Four Bars, Dempseys. Critics have described Moult as being “blessed to have a voice that could sooth a set of angry ring wraiths into tranquillity”, and after witnessing Ivan Moult’s spine-tingling performance I completely understand why. Despite many of the audience knowing Moult already, it was evident that he has a natural capacity and ability to perform. The performance which Moult gave to the audience can only be described as real, raw and atmospheric. Songs which particularly impressed included “Fetch Me a Bucket”, “Oh No” and “The One Who told Me”. The powerful acoustic sounds that echoed from his guitar and voice were captivating and Moult easily managed to grasp the attention of his audience for the whole time that he was performing. With the odd awful joke to warm the audience up, Ivan Moult went above and beyond expectations, and both his personality and second to none lyricism should stand him in good stead for an even bigger career in the music industry.

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JORDAN MACKAMPA Review by ALICE DENT Photograph by JASPER WILKINS Understated, minimal, no-fuss. Jordan Mackampa’s powerful vocal, teamed with an acoustic guitar, astounded the crowd at O’Neills on Sunday afternoon. The lack of stage production was not by any means detrimental to his performance, and instead highlighted this Coventry based singer-songwriter’s potent lyricism. Mackampa’s stage presence was captivating, with a shy demeanour and softly spoken voice which contrasted with his powerful vocals and furious guitar instrumentals. The audience hung on his every word, and even participated in the show, by repeating parts of his song, entitled ‘Under’, back to him. His set was not widely attended, which was undoubtedly due to lack of exposure, rather than a lack of talent. This intimate atmosphere only heightened the experience, however, and there was certainly an unspoken agreement shared by those in the audience that you were witnessing something special. Tracks played throughout his 30-minute set included Yours To Keep, Same Faces and Open Arms, which were all equally thought-provoking and utterly absorbing. To finish, Mackampa performed Anchor, sharing with everyone the troubles his close friend had with Bipolar Disorder. He left with the message to look after those around you, adding that everyone could relate to the track as they’re either “going through [a troubling time], or know someone who is”. With his debut EP, Physics, having been released in October 2016, this is certainly only the beginning for Jordan Mackampa. His soulful and endearing performance needed no frills, flashing lights or backing tracks. Simply a man, a guitar, and a fucking cool hat.

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SHOCK MACHINE

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Review by ERIN BROWN

Shock Machine is a new project of previous Klaxons member James Righton. Kicking of the project in March 2016, Righton has birthed Shock Machine by working with James Forde (Arctic Monkeys, Florence and the Machine) in a log cabin in the South of France. Taking quite a drastic transition from the 80’s new rave sound of the Klaxons to a more melodic, 70’s styled art rock route influenced by the likes of the Beach Boys and Tom Rundgren. We got to catch Shock Machine at Clwb Ilfor Bach on Saturday night! After a 45 minute set of pure psychedelic and melodic bliss, I must stress that Shock Machine are a must see and must listen. For me, catching Shock Machine was quite an anticipated gig. Not only is James’ new sound an intriguing one, but it Is played out by an unknown super group made up of members for of course, The Klaxons, Friendly Fires, Metronomy and Citizen. Kicking of with an intense build up with Open Up the Sky, the room soon bursts into a flowery and breezy explosion of synthy riffS and killer drum beats; a theme running through the entirety of the set. The closing song confusion is really what got the crowd going as the heavy riffs, mixed with a trip from Righton himself into the crowd, created the perfect atmosphere. However, it is not the just the sound of Shock Machine that made their set so enticing. Righton’s stage presence alone and the way he carries himself carries such enthusiasm and passion to the music he has made, coincided with Jagger like moves, Righton maintains the set to be a highly engaging one. The overall experience appeared to be a group of talented friends just on stage having a good time. However, this ‘good time’ is carried with such style and enthusiasm, making Shock Machine such a good band to catch live.


THE VRYLL SOCIETY

Review by SADIA PINEDA HAMEED

Having seen The Vryll Society at this year’s Isle of Wight Festival, I knew this was one gig not to be missed. With a slot on Sunday night at Clwb Ifor Bach, the boys from Liverpool brought their psychedelic sound to fill the room with VOX pedal-driven enchantment. The five-piece band fronted by ethereal vocalist Mike Ellis played a carefully constructed set of with songs to both shake along to like La Jetee, and to melt into such as their closer Deep Blue Skies. Many of their songs actually had a bifurcated tempo, dreamily slowing down to a sway before returning to the more upbeat sections. however, rather than causing dissonance, it

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worked intelligently; it entranced everyone in the crowd until they almost knew the structure of the songs just by its vibe. This is a band that knows their own sound well, which is completely transporting and feels like an exploration of something bigger. It shrouds you in hallucinogen humming and wistfully sung words, leaving you to simply listen and experience as the performance settles down to a long instrumental finish. Clearly inspired by the mindexpanding culture of the 60s, its music, its films, its art, The Vryll Society are something of a rarity these days: a band that can take their audience on a trip.

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LET’S EAT GRANDMA

Review by ALYSSA ALAMILLO There was a lot of hype going into Let’s Eat Grandma’s set at The Moon Club. Musicians and attendees alike were excited to catch the young act’s set on day 3 of Swn Festival. Ten minutes before showtime, the crowd was already packed like sardines waiting for multi-instrumentalists Jenny Hollyworth and Rosa Walton to take the stage. Long-haired and blank stares are the first words that come to mind when seeing Let’s Eat Grandma walk on stage. The duo opened with ‘Deep Six Textbook’, which is also the first track off their debut album I, Gemini. Starting off with a broody drum beat and the two partaking in a quick game of Patty Cake, the girls quickly turn to one of the two keyboards on stage, bending their necks at 90 degrees counter-clockwise at

the start of every new chord. To get an idea of what Hollyworth and Walton’s stage persona, a good start would be a less frightening version of The Shining’s Grady twins. The duo take advantage of their youthful voices and appearance with not only the rehearsed game of Patty Cake at the start of their set, but with songs like ‘Rapunzel’ and ‘Chocolate Sludge Cake’. Although it was exciting to see these multiinstrumentalists live, it was clear that the audience reaction post-set was mixed. There were as many attendees leaving the Moon Club amazed as there were leaving confused and questioning where the last half hour had went. This reviewer, for one, can’t really say they enjoyed it, but the show was memorable.


THE CRADLES

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“KICKING OF THEIR SET WITH AN OLD SCHOOL ARCTIC MONKEYS TONE, THE LEAD SINGER REMINDED ME OF A UNIQUE CROSS BETWEEN ALEX TURNER, MORRISSEY AND AND A CHARACTER FROM THIS IS ENGLAND.” Review by SOPHIE KING Photograph by CHARLIE KNIGHTS

Channelling rock vibes with a funky pace, The Cradles’ performance at Clwb Ifor Bach on Saturday presented a combination of fresh music with an indie, rock style. The five piece band from Cardiff has been recognised by BBC R6 and BBC Introducing, and the lads did not let us down. Kicking of their set with an old school Arctic Monkeys tone, the lead singer reminded me of a unique cross between Alex Turner, Morrissey and and a character from This Is England. Favourable songs of the audience included ‘Ideal Girl’ and ‘Victoria Park’. The Cradles played a fantastic set, playing a great selection of their songs, and producing a great live performance. If you are into bands such as The Pixies or The Strokes, you’d be silly to not look up The Cradles.


DINGUS KHAN WATCH EXCLUSIVE DANCE


DINGUS KHAN: ‘a person whose actions call into question their mental capacity and/or a monstrously large penis’- Urban Dictionary Review by ERIN BROWN was actually rather soft and nice, beginning with soft whistling, while Mick Squalor (lead vocals) highlighted his nice vocals. However, what is so incredibly enticing about Dingus is their overall presence. From crazy dance moves, intriguing facial expressions and crowd surfing, you just can’t get enough. What got me was their humour, between songs the band would chat amongst each other as well as with the crowd. However, the chat wasn’t morbid, just really really funny. Seeing Dingus is the first time I have found myself belly laughing at a gig. I may have laughed more there than I have at an actual comedy gig. With Dingus, there is so much going on at once but it somehow works. It’s not like Ambulance, being one of the most known going to a Chinese buffet and feeling sick songs, went down a treat as the whole because the eighth plate was one too room adopted the famous dance routine. It many. Instead, it is like ordering a single felt like being in a scene from school of rock cheeseburger but instead getting a double with the music being so heavy but everyone cheeseburger with a free side of onion rings. participating in a dance routine that should It’s not what you expected but it made your match a nursery rhyme. Another particular trip to spoons that little bit better. favourite was Knifey Spoony, easy to chant along to, and impossible to stand still to. Catch our Live session with Dingus Khan However, they’re not all heavy as Made a List and learn the moves to Ambulance… Where to start with Dingus Khan? I don’t think what we saw on Sunday night at Gwdihw can be described as a gig but instead, an experience; an experience that everybody must endure. For me, it is one of the best gigs I’ve been too. This six piece are entirely different to anything I’ve ever seen and I haven’t stopped thinking about them since. From a music point of view, they are rather heavy, with talky lyrics and a lot of messy sounds; a band for moshers and headbangers. However, even if your favourite music is Adele, you would still be crazy not to experience Dingus! Their music is fun, crazy and easy to sing along to; irresistible and contagious.


PLASTIC MERMAIDS with RHIAN Review and photography by ERIN BROWN After meeting them at our live session, the team were extremely intrigued as to what kind of performance Plastic Mermaids would bring to four bars, Dempseys. Working alongside soloist, Rhain the two acts provided a surreal and uplifting set. The differing amount of instrumental talent with the addition of the authentic quality of Rhain’s voice amazed. The whole set was filled with multidimensional sounds and visual effects which kept the energy up throughout their entire set. When recording their EP, the band travelled to various caves and coasts to get the perfect sound for their EP, which shows the extent they go to in order to impress. Saturn and Beyond The Cosmos After Death were two favoured pieces that they performed. The originals are amazing, yet when combined with Rhain’s voice , they can only be described as spellbinding. The crowd was in awe of her vocals and judging by the crowd, it was a set not to be missed. The sound produced by The Plastic Mermaids uplifted its audience and every song narrated its own story.

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