TIDO

TIDO TUNE IN, DROP OUT!

VINYL STAIRCASE / CALUM LINTOTT / KO_PLUNE / DJUNO / SOCIAL STATE

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TO DEAR READERS...

WORDS BY SOPHIE BARNDEN

We are thrilled to announce the first issue of TIDO magazine, delivering the South Coast an amalgamation of music reviews, interviews and opinion pieces to get your brain ticking. Rest assured, here at TIDO our passion for music is just as colossal as yours and it’s safe to say that we’ve worked night and day to give you the freshest and greatest music magazine you’ve ever read.

Our amazing section editors have ensured that the interviews, features, opinions and reviews that you’re about to read exceed the boundaries of music magazine journalism, whilst our creative producers have not stopped collating the best designs to tingle your aesthetic tastebuds.

We hope you get your music fix today, and keep coming back for more.

CONTENTS Features Editors Charlotte Miles Hayley Millross

Opinions Editors Jasmine Hodge Jordan Low

Cheers, the TIDO team x

Interviews Editors Helena Aramendia Ollie Claridge Marley Long Reviews Editors

TRIBUTE:

LIL PEEP

Elisha Cloughton Rosie Chalk Lucy Wynne

WORDS BY EMILY YOUNG

Creative Producers

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n November 15, the world lost fast-rising emo rapper, Lil Peep. Challenged with mental health problems and living in a society where men’s feelings are marginalised, the New York rapper took his life through drug abuse. Despite his attempt to call out for help through his social media posts, his death was confirmed by manager Chase Ortega, saying he had been “expecting this call for a year”.

sleep”, it comes as a surprise that Lil Peep did not receive the help he so desperately needed.

Gustav Åhr, cited as one of the primary artists responsible for the post-emo revival, did not shy away from his habits and problems. With lyrics implying his struggle, “I hear voices in my head, they tellin’ me to call it quits / I found some Xanax in my bed, I took that shit, went back to

This goes to show that we need to keep an eye on our friends to make sure that they are okay, especially if cryptic s ocial media posts are involved.

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In an interview with GQ Style, Lil Peep expressed his ambitions of always wanting to stand out. “It’s kind of like no other hip-hop artists are willing to do the shit that I’m willing to do in fashion. I can say that with confidence. Breaking boundaries is my main goal.”

Emily Young Sophie Barnden

FRONT SECTION

ALBUM REVIEWS

2 What’s Hot 18-21 4-5 Album Wars Nothing But Theives 6 Have You Heard?

The Killers 7 Must-See Gigs Courtney Barnett and Kurt Vile 7 Hidden Treasures Knuckle Puck 9 Our Playlist Liam Gallagher 9 Kasabian’s Top Three Miley Cyrus 10 Five Spanish Songs Wolf Alice 44 Top Tweets Weezer 45 The Manatees: City Guide Enter Shikari 45 Top ‘Grams Alvvays 46 Gig Guide P!nk King Krule

OPINIONS

12 Creators Constitute Change 13 Artist Crimes 14 Volume Over Violence 15 VIP Package: Exploitation 27 The Future Of Rock 40 Why Does #MeToo Matter 41 Who The F*ck Is Taylor Swift?

INTERVIEWS 24-26 Jade Cocoon 28-29 Chapel 32-33 Djuno 34-35 Ko_Plune 36 Honeymooner Records 37 Narrowshed 38 Social State

LIVE REVIEWS 16 Tigercub 17 Dead Pretties 22 Waterparks 23 Sundara Karma 30 Deaf Havana 31 Superfood 39 Yellow Days

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If you or someone you know needs help, call the Samaritans on 116 123 or email at jo@samaritans.org

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8/10

A L BU M WA R S To mark the November 3 release of Maroon 5’s sixth studio album Red Pill Blues, we have ranked every album from their discography. Who will come out on top?

WORDS BY HAYLEY MILLROSS

4/10

8/10 Red Pill Blues (2017)

Songs About Jane (2003)

Maroon 5’s latest offering lacks any kind of originality.While it ex plores a variety of ge nres from the reggae vib es on ‘Don’t Wanna Know’ and the RnB feel to ‘Help Me Out’, the album does not have a cons istent narrative nor energy.

With hit singles such as ‘This Lov e’ and ‘She Will Be Loved’, Songs Abo ut Jane was a breakthrough debut for Maroon 5. It is also the band’s most succ essful album going five times platinum in the US.

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MUST-SEE WINTER TOURS From sibling rivalry, to highly anticipated reunions, expect a mix of classics and brand new material.

WORDS BY ROSIE CHALK

CRAZY IN LOVE:

FRENZIED FANS GONE BERSERK WORDS BY JORDAN LOW

For many musicians, the melodrama of crazed fanatics comes with the territory. Antics of metal devotees leaping off 30-foot sound gear were inscribed into the legends of bands like Pantera since the 80s.

However, with the current mainstream tilting toward swoon-worthy dream boys, a new dawn of fan obsession is upon us. Teenage girls.

Akin to The Beatles’ heyday, headlines of overzealous fans get more bonkers by the day.

ASDA enforced a ban in their Manchester store before Harry Styles' show. Customers under 25 were banned from purchasing kiwifruit in order to protect the singer, after he twice slipped on fruit hurled on stage to the tune of recent track 'Kiwi'.

Unfortunately for Styles, things took a darker turn when a girl tweeted a picture threatening to break her pet chihuahua's neck if the band didn’t follow her on Twitter.

Additionally, when Niall Horan appeared on Australian breakfast show, Sunrise, his half-eaten toast was scavenged and sold on eBay for a staggering $100,000, to the parents of a One Direction super fan.

Meanwhile in South Korea, K-pop star Taecyeon received a letter written to him in menstrual blood, including the words 'Taecyeon, you cannot live without me, sprinkled with a few strands of my pubes'. Nice.

And let’s not forget the nutter who broke her own foot to look like her idol Jessie J in 2011. The young stalker managed to get Jessie’s personal contact, saying “I will do anything to be just like you”.

Do these people know no dignity?! We're just one step away from Justin Bieber receiving an organ at his doorstep, gift wrapped with a bow.

GOOD CHARLOTTE After a six-year hiatus, taking a step back from touring and releasing records, Good Charlotte eventually reformed. Good Charlotte will be touring in the UK from 27/11/17 – 03/12/17 calling at Southampton Guildhall, Glasgow Barrowland, Birmingham O2 Academy, Manchester Academy 1 and more. Filling venues with nostalgia with popular hits ‘Girls & Boys’, ‘Lifestyles of the rich and the famous’ and ‘The Anthem’ along with brand new songs. Travel back in time to that early 2000s pop-punk phase.

LIAM AND NOEL GALLAGHER With an on-going feud firing over social media and two brand-new solo albums released around the same time, Liam and Noel Gallagher are finally touring again but not together. Striving for competition, the Gallagher’s are playing in venues all

THE STREETS Reunited afters several years, The Streets have just announced a tour for the upcoming year.

The Streets will bring back those 2000s garage memories with hits like ‘ Fit But You Know It’ and many more. They’ll be on the road from April. Don’t mug yourself, grab a ticket early!

HIDDEN TREASURES:

ARTISTS THAT ARE BLOWING UP THEIR LOCAL SCENES WORDS BY LUCY WYNNE

The Clause from Birmingham consists of four young lads singing about being sixteen, falling in and out of love and why now is the prime time to be alive. Taking influences from Catfish and the Bottlemen this four piece are now selling out local shows - ‘Shut Me Out’ being one of their best tunes.

@theclausebrum

Scottish indie-rock band Shambolics embrace the Miles Kane/ Alex Turner-esque persona in their 2016 track ‘Scarlett Harlett’. The band have since released two more singles and have been selling out their local venues and doing small UK tours including London, Glasgow, and Edinburgh.

@shambolicsmusic

The Blue Collars, are one of Stoke-on-Trent’s most well-renowned indie bands. Having split up several times in their ten-year career and doing reunion gigs that soon sell-out, you can be assured everyone at the gig will know every word.They are some of the most humble and talented men, ‘This Old Town’ covers the working class-life of their hometown, struggling to get jobs and people on the dole. Other mustsee Stoke bands are Psyence and Thieves Asylum.

@thebluecollars

Louis Berry, a rock ‘n’ roll artist from Liverpool that gets your feet moving when listening to his Jake Bugg and Johnny Cash inspired rock n roll track ‘25 reasons’ (why you should not be his girl).

Louis is becoming a growing success having toured in Hamburg, Switzerland, The Netherlands and covering mostly everywhere in-between London to Glasgow in the UK. If you missed his twelve-day October tour, he’s worth waiting for the next tour.

@louisberry

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over the world. Currently in the limelight spouting insults towards his followed by promotion of his album, As You Were, Liam announces his UK tour dates starting from early December covering arenas in Manchester, Glasgow, Leeds and more. Noel’s tour begins in April next year calling in at smaller cities like Brighton as well as London and Glasgow. Both tours are sure to spark interest amongst Oasis fans.

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PHOTO GALLERY THE MANATEES, THE DEAD FREIGHTS,

ON OUR PLAYLIST

CALUM LINTOTT

Need to freshen up your listening habits? Check out what’s been making our contributors bounce lately WORDS BY CHARLOTTE MILES

N.E.R.D, Rihanna - ‘Lemon’ Charlotte Miles - Front Section Editor After a seven-year hiatus N.E.R.D led by Pharrell Williams have returned with the hip-hop and electronic mashup, ‘Lemon’. “Bouncing around, bouncing around, bouncing,” Williams chants over buzzing beats and crisp synths. However, it is Rihanna’s tight and fiery rap verses that steals the show. As she effortlessly reels off luxury car and T.V. references, she makes ‘Lemon’ her own.

Plan B - ‘Heartbeat’ Sophie Barnden - Creative Producer Having not released any material since Ill Manors in 2012, ‘Heartbeat’ is a remarkable introduction to Plan B’s, real name Ben Drew, new soulful sound. The track trades raw commentaries on urban Britain seen on his debut, Who Needs Actions When You Got Words for stripped-back arrangements about “deception” and “rejection”.

Lady Leshurr - ‘Queen’s Speech 7’ Hayley Millross - Front Section Editor From Brexit to gun control, ‘Queen’s Speech 7’ is the most political installment of the Queen Speech series with Lady Leshurr questioning the lack of Government support from Theresa May (“Who stood up when Grenfell? / Where’s all the money we raised then?”)

Sam Smith - ‘Pray’ Rosie Chalk - Reviews Editor Produced by Timberland who has worked with the likes of Justin Timberlake and Missy Elliott, ‘Pray’ is the second single from Sam Smith’s second album, The Thrill of It All. Reflecting on his struggle with fame (“I block out the news”) and battle with religion (“You won’t find me in church reading the bible / I am still here and I’m still your disciple”), ‘Pray’ is a mournful gospel ballad.

THREE SONGS KASABIAN SHOULD PLAY LIVE

This year marks the 20th year of Kasabian, so it’s about time they tested the water with some lesser known songs WORDS BY ELISHA CLOUGHTON

‘Reason Is Treason’ - Kasabian ‘Hear Voices’ - Velociraptor

This song is off their debut album and is a pure sing along anthem.

‘Last Trip (In Flight)’ - Empire This is the last trip, just wanna get you on your own’ with lyrics like this, who could say no?

I

f you’re a die hard Kasabian fan like me, looking at their setlists from past gigs can be upsetting.

Granted, they’re one of the best live bands of our generation, they never fail to put on a good show and please the crowd.

However, they tend to stick to the older songs that they know everyone else will know. Now many, if not all artists do this, what band is going to want a

PHOTOS: @EMILYJADEPHOTO

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This whole album itself is a hidden gem, so any song would be welcomed by a day one Kasabian fan. “My soul you can have it ‘cause it don’t mean shit, I’d sell it to the devil for another hit.”

silent crowd not knowing any of their songs? However, there is always room for a little bit of a switch up, so here are three songs I think Kasabian should put on their setlist for next time round.

Each and every one of these songs are not given the recognition they deserve. Spread across three of their albums, each one is true to the Kasabian sound in their own

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unique way, and how they make that work I have no idea. Despite the band ticking all of the boxes when it comes to live shows, there is always room for improvement.

Plus, the atmosphere at every Kasabian gig is always mental, so as long as there’s music to be played, there’s a crowd to enjoy it.

WITH GLASTONBURY FESTIVAL

PHOTO : GLASTONBURY

HOW TO GET OVER A BREAK ...

WORDS BY EMILY YOUNG

WORDS BY SOPHIE BARNDEN

T

he nation has spent the past few months recovering from those pesky Glasto blues – but with the festival taking a fallow year in 2018, what have we got to look forward to through the bleary winter months? Here at TIDO, we’ve been racking our brains for events that will satsify our festival fixation – and here are a few that might hit your fest-buds.

A festival with headliners as big as Worthy Farm’s plot Reading and Leeds Festival are certain to bring in some big names from August 24 to 26 next year.

The line-up is heavily anticipated, with 2017 having supplied music from the likes of Kasabian, Liam Gallagher and the rap virtuoso himself, Eminem.

A festival you can walk to The one positive element of Glastonbury’s year off is that you may not need to faff over travel options.

Rob Da Bank’s Common People Festival took Southampton by storm this summer, with Sean Paul

and Pete Tong monopolizing the weekend. (The mac and cheese stall was also to die for). Common People returns in 2018, across May 26 and 27.

A festival that is likely to give you trench foot Whilst Y Not Festival couldn’t handle the fun of mud slides and decided to cancel, the Isle of Wight Festival is sure to get your wellies in a state across June 21 to 24 2018. What with 2015’s weather turning the festival into a quagmire, be sure to pack a sledge.

FOUR GREAT SONGS IN SPANISH THATWORDS AREN’T ‘DESPACITO’

BY HELENA ARAMENDIA

M

usic in Spanish has been a thing for a while, usually seen as exotic. Shakira or Enrique Iglesias have had big hits, but now there’s a new wave led by Despacito that is bringing Hispanic dancing rhythms and strong nature to the top.

1. ‘Como te atreves’ — Morat This is a catchy hit about an ex coming back. Played by the Colombian band Morat, it became huge in the summer of 2016. The kind of song that makes you want to party at the beach with your friends.

2. ’Zapatillas’ — El Canto Del Loco This punk rock anthem has very powerful lyrics about the shit that went on in clubs some years ago. People weren’t allowed to enter wearing trainers (zapatillas), there were always VIP lists...

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This was a major hit in Spain and Latin America, and everybody still knows every word to it.

3. ‘Ahora Dice’ — Chris Jeday, J Balvin, Ozuna Trap is a thing in Hispanic countries and this is one of the most famous songs right now. Sang by three of the biggest Hispanic urban artists right now (J Balvin wrote the hit ‘Mi gente’), the song has a nice rhythm and a good vibe.

4. ‘A quien le importa’ — Alaska y Dinarama This is a classic. It was released in 1986 and, since then, it has become not only a tribute to freedom and self-expression but also an LGTBIQ+ anthem played in Pride parades all over the world.

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esults from The Huffington Post’s recent poll discovered that 1/3 of 18-24 year olds have had a mental health problem in the past year.

YoungMinds, the UK’s leading charity for improving mental health, works closely with young activists and families to campaign for political change, spread the message about mental illnesses in schools and improve services.

The charity created the website HeadMeds in order to inform young people about mental health medication and how it might affect them, as well as including a useful jargon buster and contacts for advice and counselling. They also run an ‘Amplified’ programme to give children, young people and their families the voice they deserve when it comes to their mental health.

On October 10, YoungMinds called for people all over the country to wear yellow in aid of World Mental Health Day and come together to learn about the issue as well as fundraise for the charity.

Both schools and social media joined for their #HelloYellow campaign, showcasing their yellow outfits, accessories and art to celebrate the day.

YouTube sensations Phil Lester and Daniel Howell also got involved with the charity, Phil showing off his bright shirt and flower crown, whilst Daniel chose to share details of his own experiences with depression.

80,000 children and young people have severe depression, and one in ten have a mental health problem.You can find out more information on how to get involved or donate at youngminds.org.uk.

WHY YOU SHOULD BE EXCITED FOR N.E.R.D’S ‘NO_ONE EVER REALLY DIES’ WORDS BY OLLIE CLARIDGE

F

ollowing a seven-year hiatus since their last album release, N.E.R.D are back with new project No_ One Ever Really Dies. It was during their headline slot at November 2017’s ComplexCon in California that the celebrated trio consisting of Pharrell Williams, Chad Hugo, and Shay Haley, debuted the new album in its entirety to fans. Set for release in January 2018, here at TIDO we’re expecting big things…

The previously released track, ‘Lemon’ featuring Rihanna steers clear of the 70s funk guitar riffs that we were familiar with in previous albums, replacing live instrumentation with bouncy drum machine kicks and flashy synths. Rihanna once again proves herself as a convincing rapper, displaying a swagger in her flow that complements Pharrell’s verses perfectly. It boasts a reinvented musical style for

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the trio, reassuring hopes for something new that sets itself aside from previous N.E.R.D releases.

Elsewhere, the 11-song track list brandishes A-list features, including the likes of Kendrick Lamar, Future, André 3000, and Ed Sheeran. The track ‘Don’t Don’t Do It’ is said by Pharrell to be inspired by the tragic death of Keith Lamont Scott, a 43 year old African American man who was fatally shot by a police officer. It will be interesting to see how the group tackles these themes and how their newly found inspiration is incorporated into their music. The long awaited return of N.E.R.D is finally here and hopefully, No_One Ever Really Dies proves its worth.

OPINION

OPINION

CREATORS CONSTITUTE CHANGE: MUSICIANS AND THEIR ROLE IN CHANGING SOCIETY’S VIEW OF MENTAL HEALTH

WHY IT’S TIME TO STOP FORGIVING AND FORGETTING ARTIST’S CRIMES WORDS BY CHARLOTTE MILES

WORDS BY SOPHIE BARNDEN

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f you were to find out that experienced a similar trial and they for many, essentially showcasing every musician you look up have survived – so you can too. that it’s not unfavourable to talk to struggled with cripplingly about how you’re feeling. His unbearable mental health issues, In today’s generation, Stormzy has music could not save him – but it would you change your view of proclaimed himself as an advocate saved listeners worldwide, with a them? If you’ve just answered for mental health awareness. 14% spike in calls to The National no, then answer this: why do we After releasing his debut album Suicide Prevention Lifeline on the alter our views of those around Gang Signs and Prayer, he told day that his death was announced. us when they are unwell? For Channel 4: “what convinced me Whilst it is incredible that people years, people have been dishonest to talk about it was the fact that sought help, it shouldn’t take to hide the fact that they are if there’s anyone out there going for someone to die to make us struggling, and as a society we are through it, I think for them to see realise how important life is. allowing one another to believe that I went through it would help.” that having a mental problem For this year’s World Mental “ a 14% spike in calls is being a coward. Wrong. It Health Day in October, BBC seems that now more than Radio 1 teamed up with to The National ever, artists are promoting RAYE, Ella Eyre and Slaves to Suicide Prevention the importance of lifting the tell the stories of sufferers and taboo of mental disorders – Lifeline on the day decrease mental health taboos. and it’s about fucking time.

The videos appear as though that his [Chester the musicians are discussing own adversities, a clever Bennington] death their Often, it is trauma that causes move – even I felt a semblance mental disorders to reap was announced. ” of comfort that these icons havoc. Ordeals such as sexual have downfalls. Each story abuse are often the source Men struggle to admit that they’re promotes a recovery, inspiring us of mental health issues, residing feeling low – out of the 6,000+ to believe that things will get better. within memories forever. But, it suicides that occur in the UK, doesn’t have to be isolating, as R&B 75% of those are committed Musicians, please continue artist Mary J Blige tells in her track by men – and Stormzy’s to communicate proficiently ‘No More Drama’. The singer has decision to encourage his fans about mental disorders and been open about her childhood to divulge in conversations inspire your fans to look after sexual abuse, and her strength about mental health is stunning. themselves and never give to expose her emotions through in – you’re being relied on. her music is something that victims should use as inspiration. Whilst Linkin Park frontman The integrity of musicians allows Chester Bennington could not sufferers to feel that they’re not continue his battle, his music has alone; there are people who have laid a path towards recovery

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hilst the average person can be sentenced to decades in prison for a crime, there appears to be an ongoing pattern of artists paying their way out of their offenses with their career undamaged and charmed lifestyle still intact. From forgotten sexual harassment cases to overlooked money laundering, it is clear that artists can sustain their careers if the media continues to promote them.

payments to the court and the victims, they still graced him with magazine covers from Deluxe in 2009 to GQ in 2016.

Multi-platinum-selling R&B star R. Kelly is an example of an artist whose alleged criminal behaviour of sexual abuse is repeatedly glossed over by a music industry keen to see his career continue. This year, Kelly has been accused of running a ‘sex cult’ in which six women have been held captive as he physically and mentally abused them. Astonishingly, in spite of these allegations Kelly is continuing his ‘After Party’ tour and has even added more dates.

“The media are clearly too easy to forgive and forget.”

This isn’t the first time that the media has chosen to overlook Kelly’s crimes. In 2008 he was charged with fourteen cases of making child pornography.

Even though the media knew Kelly settled the case with cash

So why are the media still promoting these artist’s music?

The amount of buzz surrounding Chris Brown’s latest album, soon to be released later in December, is shocking. How have the media forgotten that in 2009 he was charged with domestic abuse

with then girlfriend Rihanna?

Or how only last year he was arrested for pointing a gun at a woman’s face but was released after paying the court $250,000.

By using sympathetic headlines from Brown such as, “Maybe I Was Out of Control” from Billboard in 2014, publications cash in from the artist’s sob stories.

The media are clearly too easy to forgive and forget when the traffic and money they can gain from promoting the controversial artist outweighs their crimes.

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If anything, Brown has gained more media coverage since his crimes and has cashed in from his bad boy image. After he was released from jail, he was nominated for 2 Grammy awards for his 2009 album Graffiti whilst his 2011 album F.A.M.E reached number one on the US Billboard 200 and won him his first Grammy award. Similarly, rapper, XXXTentaction has managed to sign a $6 million record deal with Capitol Music Group even though he is going on trial this December for allegations of domestic abuse, false imprisonment and battery of a pregnant woman.

Ultimately, no one is going to learn that crimes are immoral and illegal if the media keeps glamorising artist’s criminal offences and brushing them under the carpet.

The special treatment that artists receive from the media is unjust and until the public turn their back on publications celebrities will continue to be exempt from their punishments. Or as George Orwell once famously said, “All animals are equal, but some animals are more equal than others”.

VOLUME OVER VIOLENCE WORDS BY EMILY YOUNG

I

t’s nothing new to hear that someone has been injured at a gig. If you partied hard enough, chances are you’ve walked away with a bruise or two to remind you of the mosh pit you were in or how hard you were pressed up against the barricade at your favourite band’s show.

Security at concerts are usually pretty good.

Handing out water to those who need it, pulling people out of the crowd if they’re struggling with the heat or are being too aggressive.

Unfortunately, that’s not always the case.

Long gone are the times when mosh pits were the only thing to be scared of at a concert.

Now you have to worry about the very people who are meant to help you, hurting you.

VIOLATION Unfortunately, but also not unsurprisingly, sexual assault and harassment has become a common problem at concerts. You go to shows almost expecting to have someone somewhat grope you at one point or another. However, artists and bands have become increasingly aware of this situation, and have taken it upon themselves to do something about it, since security have already bitten off more than they can chew.

On October 9 2017, fans of the Welsh pop punk band Neck Deep were left distraught and disappointed at their show at Rock City in Nottingham, “...simply following a fight between fans, security and the band themselves. saying “no” or

Back in August, Architects’ Sam Carter stopped their show at a festival to call out an audience member who The ruckus began when a fan “stop” doesn’t he had witnessed sexually assault a had crowd surfed during their female fan. Just last night Loyle Carner always cut it second song of the night, ‘Lime had his security remove a fan from his St.’, and had received rough Norwich crowd for shouting sexual anymore.” handling from the security guard slurs at his female support act during who was supposedly helping her performance. “I’m sorry man, him down. Other security guards jumped in; pulling but you’ve got to learn a lesson my young man.” at his hair, clothes and putting him in a chokehold. Addressed Carner, who had the man banned from the venue for life as a consequence to his actions.

The band stopped to argue with security over the safety of their fans, when their crew, including Some may say that banning him was a step too far, popular music photographer Elliott Ingham, but simply saying “no” or “stop” doesn’t always cut were involved, being dragged away in a head it anymore. Bands, artists, fans, all need to speak lock by the overly zealous security. The crowd up about it. If more people reacted the way Loyle reacted in a typical English manner, chanting Carner or Neck Deep did, maybe those being violent “Wankers!” together as security finally backed away. or inappropriate would realise that it is not okay.

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OPINION

PHOTO : MARTON NAGY

PHOTO : ELLIOTT INGHAM

OPINION

VIP PACKAGE: EXPLOITATION WORDS BY ROSIE CHALK

M

eeting a favourite band should be an experience, which is memorable, sentimental and heavily anticipated. But for this ‘privilege’, fans have to spend what seems like a small fortune to see a group for about five minutes and potentially take a photo with them, if they’re lucky.

You have become a human being with a price tag…If the fans stop paying these premium prices you can wave good bye to that comfy tour bus.”

Even though some artists recognise that this is wrong, it’s still an on-going issue. In an article for Fader, a report by trade publication in 2015 revealed that the price of tickets to live music hit an all time high that year with an average cost of $74.25 (£57). This is a standard ticket.

For example, Good Charlotte are currently on tour in the UK.Their VIP package includes meet and greet, a photograph with the band, VIP early entry to the venue, VIP laminate design, poncho and gloves. The In 2016, this decreased slightly however tickets for package costs ninety-nine pounds.The equivalent for bigger artists like Drake and Beyoncé were still on about 19 hours work on a minimum wage, which the sale for hundreds of pounds. It average 16-18 year old fan would “...You have seems to be an on-going issue due make. This means that for younger to pure greed since the artist can fans, VIP packages are extortionate become a choose how much they involved with for their budget resulting in missing the prices. If some bands human being arranging out on the experience. Totally unfair. can find ways of charging less for with a price meet and greet, why can’t the others?

This is exploiting fans and their loyalty as die hard fans will do what it takes Although bigger shows are much tag....” for the opportunity and therefore more expensive to put on and labels or artists seem to use this to this is reflected in ticket prices, their advantage. The only reason these packages are it does not excuse the VIP package price itself. being made is because fans will buy them. However, Especially when some packages do not even this is because there is no other option for them. include meet and greet according to tweets In a discussion with Alternative Press, The from fans of artists such as Pierce The Veil and Maine have recently shared their views Blink 182 who claim they have been “ripped off ”. on the rates charged for meet and greet: No matter how the big the artist is, there is no “Let the fans pay more money for tickets, excusing the price of VIP packages if other bands can merchandise, and let’s charge some money if they find different and fairer methods of making money. want a photo with the band.You’re adding yourself (a human being) in to your list of available products…

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LIVE REVIEW

Tigercub’s distorted bass, rigid drums and heavy guitar completely drown out their voices, so I cannot comment on how they sound vocally. Being unable to hear the trio induces a substantial lack of that penetrating

intimacy which most small-venue gigs provide. Frontman Jamie Hall isn’t aware of the overbearing sound, shouting “if anyone knows the words I want you to fucking scream them back at me” before ‘Migraine’ kicks in. That migraine will just so happen to be going home with me. Whilst they seem proficient at executing their instruments, with bassist Jimi Wheelwright turning to a keyboard and Hall utilising a loop pedal, their intentions to promote their September-released EP Evolve or Die has gone downhill.

TIGERCUB

DEAD PRETTIES HEARTBREAKERS, SOUTHAMPTON

JOINERS, SOUTHAMPTON OCTOBER 16, 2017

OCTOBER 7, 2017

6/10

6/10 WORDS BY JASMINE HODGE

WORDS BY SOPHIE BARNDEN

Their conversations between tracks are humorous, with Hall and Wheelwright discussing having a “stinky dick” and calling their own music “fucking shite”. The band – aside from drummer James Allix who makes no interaction at all – engage well with the crowd and make sure that they mosh sensibly, ordering that “if anyone falls down you’ve got to pick them up and look after each other”. Their personalities slightly counterbalance the lack of vocal engagement – just make sure you check your microphone levels next time, boys.

B

reaking a new venue in is something that marks its introduction to the music scene.

Heartbreakers is a brandnew venue in Southampton.

Clean, polished and still contains that fresh, paint smell. Despite only being open for two weeks, Dead Pretties are definitely not

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the gentlest band to break in this refined music haven. The smell of the recently painted walls is being conflicted against immediately upon the arrival of Dead Pretties. The stench they bring with them of cigarettes, sweat and god-knows what else fight against the clean odours as the bands start to sound check.

Portsmouth five-piece, Hotel Lux are the only support band for the night and play to an already packed out crowd. They bring a sound not too dissimilar to The Fall, and bring the attitude of Fat White Family along with the dress sense and wide-eyed expression plastered on their face. Despite not much of an online presence behind them, Hotel Lux certainly make up for it when on stage.

Dead Pretties come on next and the mosh pit is a place of violence, fear and not to everyone’s taste, with some fans actively standing at the back to avoid it. The trio play unreleased tracks such as ‘Teeth’

which frontman Jacob Slater accompanies with a deranged, wide-mouthed grin showing his cigarettestained choppers as the gritty bass-lines create an environment of heavy grunge and bad decisions.

The mosh pit continues to scare off some fans as people get beaten to the band’s latest single, ‘Confidence’. With the angry track fuelling the rage found in the pit, the outcome is two bloody noses. Dead Pretties waste no time coming off stage before their encore and play all the way through, ending on a violent high and one hell of an after party.

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PHOTO : JODIE CANWELL

The venue is relatively empty when I arrive, with a surprising amount of space in front of the stage. Perhaps that void was once filled with audience members, who now vow never to return to the inferno that is a Tigercub gig. Oxford-bred supporting act

Cassels are far more entertaining – that could be down to the fact that their songs communicate issues of erectile dysfunction and paedophile priests – but at least I can actually hear the two-piece.

PHOTO : JODIE CANWELL

P

erforming at The Joiners in Southampton, altnoise-pop trio Tigercub are characteristically appealing – but their music? Not so much.

LIVE REVIEW

REVIEWS

YOUNGER NOW

REVIEWS

THE SPARK

ANTISOCIALITES

BEAUTIFUL TRAUMA

VISIONS OF A LIFE

THE OOZ

MILEY CYRUS 8/10

ENTER SHIKARI 7/10

ALVVAYS

P!NK 9/10

WOLF ALICE 6/10

KING KRULE

When Miley Cyrus released ‘Malibu’, the first single of Younger Now, it was a big shock for most of the people, something unexpected regarding her last phase. However, this album isn’t such a surprise for her fans, who know that the artist is more than twerk hits and Disney past.

As a slight step away from heavy rock and dubstep, The Spark is infused with sci-fi themes, lighter synths and complex lyrics addressing current affairs.

‘Take My Country Back’ is the most angry, politically expressive track on the album: “Now look what we’ve done to ourselves, we’ve really gone and fucked it this time”, highlights the band’s disgust with the way the country is run in to the ground.

Three years ago, Canadian indiepop dreamers Alvvays’ self-titled debut wrote about a kind of romantic love that can only be envisioned through a daydream.

Now with a sharper focus on reality, Antisocialites discusses love, loss and all that comes inbetween.

Pop powerhouse P!nk is back with her seventh studio album – a dazzling blend of political and personal tributes. Socially-charged single ‘What About Us’ targets the illusions that governments feed us, and echoes that it’s time to appreciate her for the empowering force that she is.

If you enjoyed Wolf Alice’s debut, Your Love Is Cool you’ll love their new record. Because, how do I put this? It’s exactly the same.

The same musical journey, lack of experiment and frankly quite safe.

Shifting genres and textures in The Ooz, King Krule, real name Archy Marshall, delivers slow hiphop in ‘Biscuit Town’ , haunting jazz arrangements in ‘Dumb Surfer’, and violent screams in the punky ‘Half Man Half Shark’.

Her hippie vibe mixes with her country roots, but the record keeps an overall pop sound.

In tracks like ‘Inspired’, Miley’s naked voice shows a different side of her, one more intimate.

This album is an inside look at her thoughts, emotions and fears throughout her journey: her truth.

Across the album the instrumentals behind vocals noise appear lessened, potentially make the political theme much more prominent allowing a voice to be heard. And what that voice has to say has never been more important.

9/10

Still carrying the same melodic yet hazy feel from the debut, lead singles ‘Dreams Tonite’ and ‘In Undertow’ bring a new level of sophistication. However, the album is not all sombre. ‘Your Type’ is an up-tempo, infectious garage rock track whilst ‘Plimsoll Punk’ has a surfer rock edge.

Alvvays have truly triumphed with this matured follow-up.

Featuring Eminem on killer track ‘Revenge’, the album is brimming with thrills and agonizing passion.

P!nk’s lyrical artistry is undeniable and the sound remains diverse, with ‘I Am Here’ carrying a gospel aura whilst ‘You Get My Love’ establishes itself as a vibrato-fuelled ballad. Undeniably, P!nk is still as badass as ever.

For a band who made a stamp as large as them with their debut, you would expect something a little more adventurous but it is a yawn inducing attempt at trying to maintain that ‘indie’ sound the perfectly timed a couple years back. As far as lyrics and guitar riffs go, it’s not bad. Just one of the more boring albums I’ve heard this year.

6/10

From loneliness in ‘The Locomotive’ (“I’m alone, I’m alone/in deep isolation”) to violent imagery of cats being “slashed” in ‘Dumb Surfer’ and then an intimate yet unsettling flashback of his mother (“I caught my mum, she stumbles home”) in ‘Logos’, Marshall’s exploration of intense emotions can be hardgoing. However, listeners get a real taste of the inside workings of the 23-year olds mind: solitude, madness and desperation.

BY HELENA ARAMENDIA

BY ROSIE CHALK

BY HAYLEY MILLROSS

BY SOPHIE BARNDEN

BY JASMINE HODGE

BY CHARLOTTE MILES

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

DEMI LOVATO, SELENA GOMEZ, KESHA

FUNERAL FOR A FRIEND, THE BLACKOUT, CROSSFAITH

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MAC DEMARCO, BEST COAST, ST VINCENT

GWEN STEFANI, BRITNEY SPEARS, ADAM LAMBERT

CIRCA WAVES, THE VACCINES, JAWS

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ARCHY MARSHALL, HOMESHAKE, BEACH FOSSILS

REVIEWS

FOR WHAT IT’S WORTH

REVIEWS

PACIFIC DAYDREAM

WONDERFUL WONDERFUL

BROKEN MACHINE

SHAPESHIFTER

LOTTA SEA LICE

THE KILLERS

NOTHING BUT THIEVES 8/10

KNUCKLE PUCK 7/10

COURTNEY BARNETT, KURT VILE

A year later after releasing Weezer (white album), Weezer don’t hold bad releasing a slightly lighter, almost cheesy album for 2017. Sticking to their usual indie-pop style but with less electric guitar and more synth, the album discusses yet again a mix of contentment and social anxiety surrounding love interests and summer memories.

In the five years since 2012’s Battle Born was released, The Killers’ Brandon Flowers has been through a lot. Wonderful Wonderful explains that in a haunting yet somewhat glamorous style, covering every aspect of a mid-career crisis. ‘Rut’ speaks poetically about his wife’s battle with PTSD while ‘Have All the Songs Been Written?’ talks about chronic writer’s block.

Pacific Daydream may not grasp much attention on passing as it’s an album that hasn’t ventured out of their comfort zone but it would certainly attract die-hard fans.

Lead single ‘Run for Cover’ pack a heavy punch filled with urgency while ‘Some Kind of Love’ features the eerie vocals of his three sons to make for an astonishingly atmospheric and dreamy track. A captivating and sentimental album.

Knuckle Puck’s second full-length album comes as no surprise – it’s full of pop-punk goodness, mixed with the hard-hitting truth. Sounding like a concept album for change, the first single, ‘Gone’, discusses how vocalist Joe Taylor doesn’t know who he is after a break-up with an exagirlfriend. ‘Everyone Lies To Me’ has Taylor’s iconic raspy vocals conveying his anger at how the government is lying and how everyone fits into the mould.

Combining Courtney Barnett’s songwriting ability to create a story from a single couplet and Kurt Vile’s stoner charm, Lotta Sea Lice delivers the coolest country collaboration of the Autumn.

Masking emotions under rock ‘n’ roll guitar riffs, romantic lyrics and charisma is a skill Liam Gallagher has got under wrap - making these three album standouts. After three years of musical silence since Beady Eye split, maybe this time Liam has the upper hand over Noel.

Loaded with ferocity, Nothing But Thieves’ Broken Machine summons listeners to have a scream-along.

Conor Mason’s multifaceted vocals have magnified since their selftitled debut, possessing similarities to Radiohead. ‘Amsterdam’ is razor-sharp as Mason’s voice melts into each guitar riff, whilst the songwriting and instrumentals of ‘Sorry’ are heartrending, telling a tale of irresponsible mistakes and the scars they can leave.

BY LUCY WYNNE

BY ROSIE CHALK

FOR FANS OF: JOHNNY MARR, OASIS, STEREOPHONICS

LIAM GALLAGHER 8/10

WEEZER 4/10

Rattling with uncontrollable arrogance, the ex-Oasis and Beady Eye frontman has created an album perfectly reflecting himself.

There are belated apologies in ‘For What It’s Worth’, to anyone he has wound up in the past, and intense feelings wrapped up in rock ’n’ roll overshadowing his vulnerability in both ‘Come Back to Me’ and ‘Doesn’t Have to Be That Way’.

7/10

7/10

The title track is stylistically riveting, its funk vibe and riffs reminiscent of The 1975. ‘Live Like Animals’ oozes Britpop, with a growth of instrumental layers through percussion. If you need to expel some passion, let Nothing But Thieves show you how it’s done.

The album concludes with ‘Plastic Brains’, a mix of simple melodies and lyrics that make you have an existential crisis, telling you that for once, it’s not about the girl – it’s about the world.

The back and forth dialogue throughout the album, reminiscent of ‘Anyone Else But You’ by The Moldy Peaches, sees the pair switch romantic compliments for mundane exchanges about sleeping patterns in ‘Let It Go’ to forgetting to add fabric softener in ‘Blue Cheese’. Similar to The Velvet Underground, the duo’s laidback vocals can somehow make casual conversations seem intimate and sincere but also as if they aren’t really putting any effort in at all.

BY HAYLEY MILLROSS

BY SOPHIE BARNDEN

BY EMILY YOUNG

BY CHARLOTTE MILES

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

FOR FANS OF:

JIMMY EAT WORLD, OK GO, THIRD EYE BLIND

KASABIAN, RAZORLIGHT, KINGS OF LEON

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THE 1975, ROYALBLOOD, LONELY THE BRAVE

THE STORY SO FAR, NECK DEEP, THE WONDER YEARS

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ALVVAYS, ANGEL OSLEN, FOXYGEN

LIVE REVIEW

The Bottom Line are the first to ascend to the stage, their upbeat modernised take on pop-

punk filling you with nostalgia, their opening songs ‘I Still Hate You’, ‘Everything’ and ‘Insecure’ sounding similar to the works of Sum 41 and Bowling for Soup.

WATERPARKS

SUNDARA KARMA

THE HAUNT, BRIGHTON

O2 ACADEMY, BRIXTON OCTOBER 5, 2017

SEPTEMBER 30, 2017

9/10 Next up is the US duo Chapel, who slow things down with their indie-pop tunes, full of electronic melodies that even the oldies can’t refuse to dance along to.

The calming vocals from Carter

7/10

WORDS BY EMILY YOUNG

WORDS BY HAYLEY MILLROSS

T

Hardin and smooth drums from Kortney Grinwis merge to make an engaging and interesting performance.

The level of energy for Waterparks can easily be seen as guitarist Geoff Wigington jumps around the stage between his backup vocals within their first song, drummer Otto Wood throwing his whole body into the beats he plays. This can be seen in the crowd too – security

having to tell a group of fans to calm down and put their shirts back on.

Vocalist Awsten Knight points out a fan with a sign saying it’s her birthday, before making the crowd swoon by putting on the cat ears she had.

“Happy birthday. And to make sure no one feels excluded, happy birthday to all of you. Even if it isn’t your birthday, it is now!” Knight jokes.

The trio’s earlier material is put on a

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bit of a back burner as they continue to tour their debut album, Double Dare, however we’re treated to a few of the old favourites, such as ‘Silver’ and ‘No Capes’, resulting in rewarding screams from the fans.

Waterparks’ performance only shows that they are destined to be playing bigger venues, suggesting that they weren’t expecting their first headline tour to sell out like it did.

PHOTO : TOMLINSON PHOTOS

he conventional set up for a Sundara Karma gig is nowhere to be seen. Usually, the stage is littered with fluorescent balloons whilst 90’s pop music plays faintly in the background and resembles something like a children’s party. Tonight, however, three giant orb-shaped lights are all that stand in its place.

It’s time for the Sundara Karma boys to become men.

All wearing the same grey shirt and black trousers, the Reading four-piece look like a state school choir as they greet a packed Brixton Academy with ‘Another Word for Beautiful’. Oscar Pollock’s powerful prowess as a front man becomes evident as the Bowie-esque grandeur of the track gets him carried away. Distinguishable from his band mates by his electric blue eyeshadow and glistening persona, Pollock’s irresistible stage presence is personified by his captivating movements and soaring vocals. An energy that is kept alive throughout the 95-minute set.

‘A Young Understanding’ sends the crowd into hysteria, reciting every word with immense passion. The opening line of ‘Vivienne’ “we could change the world if we stop getting high” sends a beautiful shock wave through the venue as fans wrap their arms around each other in jubilation.

Second EP wonder ‘Diamond Cutter’ play as a special treat for the die-hard fans.

As the boisterous indie-popinduced madness ignited by the academy-sized anthems continues to unfold, Pollock finds space to contemplate his surroundings, looking slightly bewildered as a handful of the crowd cheers as he asks who has seen them more than six times.

However, as the encore rolls in with ‘Happy Family’, all time for reflection is dismissed as Pollock’s vocals roar through the venue once again.

Although Brixton saw Sundara Karma in more formal attire, it did not stop the infectious energy of the indie dreamers from breaking through.

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PHOTO : ROBIN POPE

H

ouston’s Waterparks have taken over one of Brighton’s popular music venues, The Haunt, tonight, for their sold-out debut headlining UK tour. The cinematurned multi-purpose venue is over-packed with fans of all ages, the older generations gathered at the bar with a drink in their hands.

LIVE REVIEW

INTERVIEW

INTERVIEW

“It was kind of proof to ourselves that we were actually working for something, which is motivating.”

WORDS BY ELISHA CLOUGHTON

W

ith a lot of hopeful bands on the scene in and around Southampton, it’s hard to stand out from the crowd and show you have something different.

However, psychedelic indie band Jade Cocoon are slowly but surely emerging and bringing their own twist into the world of music.

Being a seven-piece band gives them an advantage over smaller ones, as they’re able to put all of their abilities into one and show everyone just what they’re capable of. Having met through a music scheme at Southampton Solent University, the band took a liking to each other and decided to form.

“Originally we’re from all over the place! From Norfolk to Bulgaria, but we all met at Solent and came together gradually to form

the band as it is.” Taking influence from bands such as Catfish and the Bottlemen, Fang Club “who are a very Nirvana-esque grunge band”, and psychedelic bands like Tame Impala and Pond, their music is a weird but wonderful mix of pretty much all of these. Weird in the sense that it doesn’t sound like it should work, but it does.

“We all listen to quite a variety of music and that shows quite a bit in our songs.” With Soundcloud being their main source of exposure, they recently put a single on Spotify, which is a big moment for any upcoming musician. “It was kind of proof to ourselves that we were actually working for something, which is motivating.”

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Despite the band having existed for two years already, not all of the members have been involved since the beginning, but they all have experience of being in a band.

“We’ve all been in bands previous to Jade Cocoon... they’ve all been different styles so we’ve definitely learnt different things from our experiences and it’s helped us all find our own sound.” This feels right for them, and they’ve got a lot of plans for the future.

“We want to get as far as we can with this band. We definitely want to have merch, an album and a small tour done within five years.

It’s exciting finding opportunities and learning new stuff about the industry.” Talking of having an album, the band are currently working together to release new

music. “Matt does most of the writing, but we all contribute with our parts or ideas when Matt sends the demos. Megan helps with the arrangement and mixing on some tracks due to having more of a production background.” They spend as much time as they can practising and writing songs. “We practice generally once a week but we’re trying to up it to twice a week as a band; however we do all practice on our own as well.

Matt sometimes has waves of inspiration and will spend a whole weekend just writing songs.”

Alongside writing music comes gigs, and Jade Cocoon are definitely not unfamiliar with performing in front of an audience. “We try to play gigs as frequently as possible around Southampton, both full band and acoustic. We’re looking

into a possible date in London in a couple of weeks, which will really expand our audience.”

However, not all gigs can go smoothly, and even the biggest of bands still get nervous before performing. “We get nervous all the time! It’s a good nervous, though, we want to play well and just do what we love. We all meet beforehand and it helps that we all get on really well, because you’re just surrounded by friends and having fun.”

Talking about things a little less formal, they each discussed the first band/musician that made them discover their love for music. “For me [Megan] it’s definitely Pink Floyd, my dad

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raised me on them and I can still totally zone out listening to them.

Mine [Matt] is ‘Hot Fuss’ by The Killers, and [Ryan] City of Evil

by Avenged Sevenfold because drum wise it’s just an incredibly satisfying thing to listen to!”

They also have words of wisdom to anyone wanting to start a band themselves, “It sounds obvious but you really have to like your band. Of course you have to enjoy the music you’re playing and the direction you’re going but there’s also your band mates.

If you don’t get on there will be clashes and the atmosphere on stage will be really bad.”

Catch Jade Cocoon at their next gig in Southampton on December 2 at The Joiners.

OPINION

INTERVIEW

SHOULD WE REALLY BE SO WORRIED ABOUT THE FUTURE OF ROCK? WORDS BY OLLIE CLARIDGE

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PHOTO : EMILY JADE PHOTOGRAPHY

I

n July 2017, it was announced Like a lot of us, he isn’t too their own image. Look to rappers

by Nielsen Music’s reports that bothered, claiming “Traditional such as Travis Scott whom often R&B and hip-hop are officially rock is maybe a bit boring now…I exhibits a guitar- driven sound, or more popular than rock music just believe that as long as music XXXTenacion’s controversial yet in the US. Now although this moves forward, who cares if rock musical presentation of alternative may have come as a surprise to is no longer what it was?.” Which I rock rather than rap. The unlikely many, the reason for this change can agree with.The rock star image collaboration partnering Marilyn is simple: online streaming. Music in its original sense is no doubt Manson and Lil Uzi Vert shows streaming’s audience is young, and out dated, but who’s to say that’s a us that young rappers are it would appear that the younger bad thing? Music is always going to very much looking to the rock generation identify more with progress and popularity amongst genre for major inspiration. The rap culture than the somewhat genres will always change. I get luxurious party lifestyle filled with dormant genre of rock that’s the impression that those pointing plenty of sex and drugs that is favoured by their parent’s associated with the old rock generation. Does this make star figure, easily coincides “Music is always the traditional notion of a with modern day rappers. rock star outdated? Maybe going to progress and our modern day rock stars popularity amongst It seems to me that we take the form of rappers, shouldn’t be too worried genres will always not guitar players? With the about the future of rock current number-one song on and that maybe it’s time we change” Spotify’s charts ‘Rockstar’ by comprehend it within other rap artist Post Malone, the genres. Most would be quick irony of it all makes me wonder out rock’s ‘death’ are referring to to disregard a Lil Uzi Vert album if hip-hop has well and truly its precedent stereotypes and as a form of rock but why? It’s stolen rock and roll’s limelight. quite frankly need to move on. apparent that it’s not what it used to be, but that’s not to say it’s dying.

With the future of the electric The emergence of hip-hop It’s time we stop restricting artists guitar in question, this idea that should therefore not be seen to certain genres and open our “rock is dead” seems to be to as a threat out to kill rock and minds, make way for new concepts the belief of many. In a recent roll, but instead the voice of our and allow music to move forward. interview, Julian Casablancas (ex current generation. After all, it frontman of indie rockers The could quite easily be argued that Strokes) touched on his view of rappers of today are recreating the current state of rock music. this mythical rock star figure in

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INTERVIEW

INTERVIEW

VINYL STAIRCASE WORDS BY EMILY YOUNG

T

he lads in Vinyl Staircase aren’t just a mystery when it comes to their online presence, but also that they like to encase themselves with the ideology that they’re just another one of those no-genre bands that would love to own their own pub.

TIDO had the chance to catch up with the independent band before their Southampton gig at The Talking Heads with Syd Arthur. Hailing from Dorking Surrey, England, the four-piece band consists of brothers Luke and Jake Andrews, as well as fortuitous George Ogle who won £500 on a slot machine the day before tour, and member of the BC Federation of Drift Fishers, Mike Thorpe.

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PHOTO : BYRON CHAMBERS

Despite their lack of songs available to listen to online since their early days EP Aquarelle was hidden on Spotify, Vinyl Staircase have been swept under the arms of NME and Wolf Alice, leaving a lot of people wanting to hear more.

“We don’t have any fans… but if we did, they’d expect some noise.” Jokes bassist George Ogle, slouching back comfortably into a chair in the venue’s dedicated pub room. “If you’ve seen us live before… we’ve recorded the loudest song and the quietest song, so it’s just both sides of us.” explains guitarist Jake Andrews, suggesting that the band’s new material has something for everyone.

Having just finished recording their new music for the new year, the band state that they will always put their music out on anything physical as long as there is a demand for it. “We won’t just spurt it out for no reason. If they want it, we’ll give it to them,”, explains Jake. “We’re hoping to put out these new songs

physically on CD, maybe vinyl. It’ll be on all streaming platforms; Spotify, Deezer.”

Vinyl Staircase are currently on tour supporting the psychedelic jazz band Syd Arthur, which has given them a new approach to music. “It’s good to get a chance to listen to the same band a couple of nights in a row. In the same way that an album kind of grows on you, it’s nice to kind of let a set of music grow on you.”

Whilst exploring the UK, the band have experienced a lot of new cities and venues alike, yet feel that their favourite will always be their local venue The Boileroom. “We played a gig with a band called Van Zeller, who are from Bristol. That was at The

“Someone tried to break into our van last night [...] don’t fuck with our band.”

Louisiana, that was a really nice venue.” drummer Jake Andrews explains, whilst his brother Luke shows his appreciation for The Boileroom’s booker. “Shout out to Duncan Smith. He has a good moustache and puts on good bands.”

and plan on staying that way for the time being. “If we could do it ourselves ultimately and maintain it to a good level, then I think everyone would want to do it. It’s always better if you do it yourself.” George notes. In an ideal world for almost every band out there, they would like to sign to a label where all of the creative control is with them, and they wouldn’t have anyone tell them what to do.

“I feel like the value from a record label would be advice,” says Jake.

“When it gets territorial, like ‘you’re doing the second album now’, it’s not something we would do.”

Grinning over a can of beer, the contentment is obvious when it comes to the lads’ current life on the road.

“We’re very much not looking forward to going home,” admits Luke. “We’re having a blast. Definitely feels like it agrees with us. Playing music every night, and having that be your one aim.” Bassist George shows his frustration with a heavy sigh, “I’m the driver,” he explains, leaning back into his armchair. “But it’s pretty much the dream. When you stop driving, you’re either in a pub or a venue.

You have a beer and play some music.”

“People try to put this psychedelic thing on us, we just do what we want to do,” says George, who admits that the band have some typical rock and roll influences, such as songwriter Brian Jones of The Rolling Stones, yet they do not like to force themselves into a specific genre.

However, the tour life isn’t always as glamourous as free beer and being on the road and in a different pub every day. “Someone tried to break into our van last night. That was almost a setback,” explained vocalist Mike, rolling his eyes before taking another sip from his beer. “Yeah… don’t go to Leicester,” jokes George, before Mike nods and threats with a playful smirk,

Vinyl Staircase are currently unsigned

“Don’t

29 29

fuck

with

our

band.”

LIVE REVIEW

LIVE REVIEW

DEAF HAVANA

SUPERFOOD THE JOINERS, SOUTHAMPTON

ENGINE ROOMS, SOUTHAMPTON

OCTOBER 5, 2017

NOVEMBER 10, 2017

9/10

7/10 WORDS BY ROSIE CHALK

aving released a re-worked version of their latest and most successful album, All These Countless Nights, Deaf Havana returned to tour in the UK after making an a brief appearance at Slam Dunk festival in May and hosting a DJ set at Southampton’s Engine Rooms.

On the second date of their tour, they head back to Engine Rooms. Deaf Havana begin by kicking off with a greeting to Southampton followed by ‘Fever’, a light warm up. Up next, is the

ways the same music relates to us offers a sense of comfort that you’re not alone., particularly with some of the experiences covered in the lyrics such as heartbreak, regret, and issues with anxiety and alcohol.

speakers. “Now you’re away in the city, I’m still here by the sea and you work in a relentless job while you should still be free”. Reminiscing back to when the band started out and being surprised that they got this far.

A throw back to Old Souls, ‘Mildred (lost a friend)’ then pours out of the

One of their best performances yet, Deaf Havana engaging more with

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riff to ‘Sing’. A song covering selfdoubt, frustration and jealousy surrounding problems with money, attitudes towards each other that almost tore apart the band prior to releasing All These Countless Nights.

W

hether it’s the bubbling electronica from ‘Need a Little Spider’, or the dreamy percussion from ‘Where’s the Bass Amp?’ Superfood takes The Joiners on one hazy high.

Playing new tracks from their second album, Bambino live for only the second time, the set feels rehearsed and faultless whilst still maintaining their laidback demeanor.

Vocalist, James Veck- Gilodi adds a confession. “Sometimes when I’m a bit down thinking why am I even doing this… this keeps me going.” While looking at the crowd singing along.

Being surround by strangers, connecting over the different

their fans, and finding newfound strength and enjoyment with performing, pushing themselves to commit to keeping the band going.

As well as finding themselves in a positive mind-set to open up about issues with mental health, currently raising awareness as part of Kerrang’s partnership with YoungMinds.

Where once the band delivered Blur-esque riffs from their

PHOTO : TOMLINSON PHOTOS

H

WORDS BY CHARLOTTE MILES

debut album, Don’t Say That and thrashing drums that dominated their 2014 EP, MAM. Superfood now prove to be anything but the formulaic, 90s and Britpop inspired band that they have been previously stereotyped as. In exchange are now sample based, focusing on darker and heavy synths with moodier basslines.

This is less of a reinvention, more a further peeling away of the layers that have always been a part of the band.

Over plucking percussion, front man Dominic Ganderton swoons, “I don’t want to go it alone without you walking next to me” on the soppy, ‘I Can’t See’. Whereas he battles with paranoia in ‘Unstoppable’ (“Peeking from the window, out the curtains, in the dark”) and the shortness of life in ‘Raindance’ (“I think about the days and how they’re passing me by”).

‘Double Dutch’ best showcases the band’s new direction. With a female voice talking about her love for, “the street game” as their main sample, The Joiners is then filled with layers of glistening electronica and wispy background vocals from bassit Emily Baker. Superfood have an innate ability to create the funkiest rhythms whilst maintaining a clean and professional finish. Refreshing and alternative, Superfood are not

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following in the steps of mainstream indie bands who use processed beats and generic rhythms.

Superfood’s live performances are all about escapism, making the crowd forget their troubles in exchange for an hour of trippy beats and sunshine melodies. Or as they say in ‘Natural Supersoul’ to, “Find yourself and lose control”.

INTERVIEW

INTERVIEW

“WRITE MUSIC THAT YOU FEEL NEEDS TO BE SHARED WITH PEOPLE; ONCE THAT PART IS COMPLETE, THE CONFIDENCE WILL COME NATURALLY.”

DJUNO

WORDS BY SOPHIE BARNDEN

The band met at university and after becoming firm friends, decided to create a student band. “We were just waiting for the right people to come along musically and now here we are” says bassist Matt Williamson.

“I’ve known from a young age that music is what I want to do in life” tells Gray, “I’ve never really wavered from that thought”. Whilst they promote themselves as a fullyfledged professional band, they’ve had a few facetious downfalls along the way. “Our biggest cock-up came from Sim [the band’s bassist] having a few too many drinks and forgetting how to play for a minute or so. But other than the odd stick or plectrum being dropped, it’s been pretty plain sailing.”

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A regular headliner at Talking Heads in Southampton, the band jump at the chance of any performance opportunity that approaches.

“We go through the set a few times [before performing] to make sure the song fits the time slot we get given” claims guitarist Andy Colville, “it’s important to make sure that we’re all tight”.

Djuno note that their single ‘Stop’ – a track about someone’s best efforts in life falling short – being broadcasted on BBC Introducing has really boosted their unified fortitude, but they are still working towards winning an award for their talents. “’Stop’ and our other single ‘Hive’ [a song about how bees and humans are analogous in their struggle to survive without credit] were entered into one of the biggest

independent music competitions around back in August” says Gray, after Salute Music UK recognised their talent.

“Unfortunately, we lost out to another really incredible band” she adds, “it was obviously disappointing, but it has only pushed us to work harder”.

When it comes to building the infrastructure for the band, Djuno work collectively to write their songs.

“We begin from an initial idea or two, and then work together to write a final piece” Williamson reveals. “One of the boys might come up with a riff, and then Pete will come in with the drums, and I tend to just mumble words until something relatively good is born” says Gray. When faced with the notion of people being negative towards them and their

sound, the band aren’t afflicted. “We are happy as long as people listen.

We want them to have an opinion.

Love or hate, either is fine with us”.

A band born out of university, the members are eager to ignite the fires that burn within the stomachs of all budding musicians.“People who want to perform but are worried need to know one thing” Gray reveals, “write music that you feel needs to be shared with people; once that part is complete, the confidence will come naturally”. Djuno have succeeded perpetually since they took off, having gigged across the city and supported Slotface at Southampton’s reputable live venue The Joiners, but they carry one prominent moment as their fondest. “Getting the recordings done for the few songs that we have released has been our proudest

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moment, by far. It’s great to see it all come together. The feeling of playing a gig and knowing that the audience enjoyed it as much as we did is something you can’t put into words”.

Djuno plan on playing local shows across Southampton for as long as possible, eventually radiating across the country by gaining more exposure with each new release. but for now they’re looking forward to the heavily anticipated release of their upcoming six-track EP. “We’re in the process of touching up our new music video for ‘Stop’, which will be ready for release in December, and we’re more than excited about it”. Their singles can be found on YouTube – with ‘Stop’ having over 500 views – so be on guard for Djuno’s takeover, they’re bound to be a knockout.

PHOTO : ABBIE HILLS

O

ozing alternative rock, you can expect “sweat and magic” from five-piece Djuno’s live shows. Made up of five Southampton Solent University music performance students, the band have had airtime on BBC Introducing and supported NME Magazine’s favourite electropop trio Little Cub. Their systemic guitar riffs, emotive lyrics and powerful drumming make for a whirlwind of musical elegance. Their sound bears considerable similarities to US emo-pop trio Paramore, with vivacious vocals and an abundance of caustic electric guitar riffs.

When asked of their career goals, frontwoman Courtney Gray states that their “plans are simple - gig as much as we can and get our name out there for the world to see!”

INTERVIEW

INTERVIEW

KO_PLUNE

“I WANT THE LISTENER TO EXPERIENCE SOMETHING THEY NEVER HAVE BEFORE.”

WORDS BY ROSIE CHALK

L

ocal, experimental-jazz four-piece, Ko_Plune, made up of Carl Edwards (guitar), Christie O’Regan (vocals) Alex Tobin (drums) and Jack Hill-Jones (bass) have been working together for almost three years.

Reflecting on their progress so far since performing at popular venues such as The Joiners and The Alexandra while also making an appearance at Basingstoke Live earlier this year, Ko_Plune come together to reveal a brand new EP in working progress with their new vocalist as well as other side projects.

“We are currently working on our next EP and a bunch of other songs.

We have a lot of material that we are working on so fans can expect to hear a completely new set of songs. Carl’s joined another band on the side and Jack is working on his solo material as well.” Says Christie.

Over the course of the three years, Ko_Plune have lost vocalists and changed their styles accordingly. Drifting away from acoustic rock to involving jazz and synth pop elements in to their next EP with a new member. “We are all influenced by a lot of different bands that range from experimental to straight up pop music. Recently I have been listening to Chvrches, Grimes and Tennyson” adds Carl.

Attempting to keep up with the competitive and modern local music scene for by fusing genres, Ko_Plune discuss how their influences help with pushing their own boundaries, adding something different to Southampton. Christie explains; “I am taking classical and Jazz Piano lessons so the new stuff will incorporate some of that. Overall I’m inspired by the following bands Gruvis Malt, At The Drive In, The Speed Of Sound In Seawater, Incubus, and Bloc Party”. This combination of influences is obscure however Ko_Plune find a way to make them work by recording samples to test if particular elements from jazz and pop genres sound good together.

With a thriving community exploring diverse genres there is certainly room to challenge young people’s listening habits who attend local gigs.

By fusing together and creating new sub- genres that are not typically marketed towards this demographic, experimental bands like Ko_Plune work to encourage others to more open-minded about what they listen to and inspire other artists to try new musical directions.

“I want the listener to experience something they never have before and be part of a sonically new experience. The message I want to people to take away here is to not be afraid of progression and the challenge to make something new. Exploring new boundaries or challenging yourself creatively.” In such a small student orientated city with a growing music community like Southampton, there will always be a place for this.

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Discussing future ambitions, ko_Plune consider the possibility of signing to a label and how this might help their band to grow. “A label would have to offer something that we can’t do for ourselves to keep both parties happy. Being signed to a label would definitely help with distribution and making business decisions.” An independent label might be the best option here so that they have more control over what they produce creatively.

In a generation where streaming has appeared to be a dominant form of accessing music until CD and vinyl sales have been increasing recently,

many artists have been releasing new material on both digital platforms and vinyl, even on cassette tapes. Carl talks about marketing Ko_plune’s new material: “Both are great and in this day and age you have the option to buy both and if you enjoy music you should support bands and artists by paying for their music. I buy everything I can on vinyl since I feel that it represents the artwork better but I’m happy to have a digital download option too not everyone can afford to buy music but either go to show or buy a shirt from a band to support the artists you enjoy and love.”

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Having successfully released a digital album Auditory Atlas and EP, PANDA online for easy distribution generating a fan base from across the South coast and it’s boarders, ko_Plune will soon be in a position to be working on releasing new material as physical copies as well which can contribute to income if sold at a live show.

With various backlogs of samples, demos and other unreleased material; nothing stands in the way of developing their music and performance skills, even when things do not go to plan. “There’s always a feeling that we are moving forward”.

INTERVIEW

INTERVIEW

JAMIE FORD WORDS BY JASMINE HODGE

“H

oneymooner is basically a recent birth of a desire I’ve had for a long time,” says Jamie Ford, founder of Southampton’s newest record label and promotion company, Honeymooner. The idea of a record label combined with a promotion company came to Ford during a university project in his final year at Southampton Solent University.

However, Ford felt Honeymooner had more potential than just a final project, and decided to continue it after his studies had ended.

to see young people loving guitar music!” The birth of Honeymooner was due to a lack of a specific kind of show happening in Southampton.

“Although there are other local promoters putting on some really great stuff, there were other things I wanted to bring to the city.”

Honeymooner is also a perfect illustration of how Southampton promoters are not only interested in their own fortunes but helping other local promoters. With the backing of other promoters, one other link that is helping the Honeymooner trade bloom is the family connection between Ford and the editor of Southampton’s evergrowing, DIY magazine, So Young;

“I wanted more time to think about the actual aims of the label while getting more exposure to the ‘industry’” he says. Upon leaving Solent, Ford interned for half a year at Wichita Recordings (FIDLAR, Los Campesinos) in “Honeymooner is also London before returning and a perfect illustration continuing the Honeymooner of how Southampton journey in Southampton. promoters are not Southampton is home to multiple live music companies only inerested in their and is riddled with promoters. own fortunes...”

With Club Psychedelia, Joiners Live and MJR being some of the city’s main examples, why is Honeymooner taking off editor, Sam is in fact Ford’s brother. so well in such a competitive The dream-team have put on gigs field and from so early on? in local venues and are planning many more bringing bands such With show success in Southampton as Public Access T.V and Gengahr. impossible to pin down to a reliable formula, starting a new promotions “(So Young) was born from a small company in the city could be viewed idea and a mutual love of fanzines, as a brave move. “(Southampton) and I guess the lack of one within tends to be buzzing one moment, and this particular genre. They only then drops the next,” reveals Ford. write about stuff they love,” states “So far, with all Honeymooner shows Ford about his brother’s publication, I’ve been positively surprised by the with the main similarity between turnout, so it’s amazing to see there Honeymooner and So Young being is demand for the shows I’m putting their passion for bringing and on. And more importantly, it’s great promoting new music in the city.

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The collaboration was one waiting to happen and the ethics and tastes between the brothers are so coordinated that this helpful link is turning into something spectacular.

“For years I’ve wanted to set up my own record label which invests a lot of time into helping bands that it’s working with,” Ford continues, “Seeing potential in a band and helping them to grow is incredibly exciting, being a huge chapter in their journey”. However, he is taking his time in ensuring the label’s first signings, local psychedelic four-piece Mystic Peach, have every chance of breaking through. “I’m really keen not to rush in to anything and make sure when I do something, I do it right”.

Time off isn’t a luxury for Ford and he claims that his time is almost entirely devoted to Mystic Peach as he reveals there is a lot planned and it’s important that he stays entirely focused on the band as his main project. The band have so far played all around the city and have released debut single, ‘Downtown’ through Honeymooner with So Young Magazine’s helpful platform.

Honeymooner has made a huge stamp on the city. By combining the brothers firm grasp on what this city’s live music venture needs, it’s clear that Jamie Ford and Honeymooner will continue being a success. Honeymooner has every chance of blossoming into a bonafide success- perhaps enough to set its sights a little higher. But for now, Ford is focusing firmly on the city he’s calling home, “I’m determined to stay here in the city and help the local music scene rather than vanish and be swallowed by the music industry.”

NARROWSHED WORDS BY OLLIE CLARIDGE

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arrowshed’s name may reference a shed that the band used to “get wasted and smoke in”, but it also personifies something deeper, entailing the limiting and enraging situations that are presented to us in everyday life. This is perhaps why their fiery concoction of psychedelic rock, punk and grunge packs such a punch.

Incorporating dynamic guitar riffs and heavy basslines over ferocious drum crashes, Narrowshed calls for fans of hard hitting, head banging rock music. Set for promising things, we got a chance to speak to their front man, Gabriel Yumusak.

good at capturing the depression and anger that lives inside people through his songs, listening to his music has helped me a lot.” It’s this influence that becomes the most apparent in Narrowshed’s music. ‘Amateur’ is a ferocious grunge track, driven by its electric riffs and heavy drums.

Featuring lyrics that tackle themes of declining mental health and equal rights, there is even a slight American twang as Yumusak’s delivers his aggressive vocals. A true reflection of the Seattle-sound, fans of Nirvana should definitely check this out.

So how do Narrowshed go about writing their music? Their close dynamics mean each of their

which consequently, is where all their rehearsals and gigs have been situated. “Obviously it can be bit draining travelling so much to go and rehearse and play shows.

Some weekends I’ll miss out on going to parties and stuff with my friends which kind of sucks.” But he refuses to let these inconveniences hinder the band’s progression.

With a consistent string of gigs already under their belt, Narrowshed have made sure to hit Birmingham hard with their chaotic live performances.

“Naturally, our shows are always lively and full of passion. When we’re performing on stage, we’re channelling all the stuff that’s usually bottled up. It’s important that the crowd can sense the emotions that you’re feeling playing the song.”

Born and raised in Southampton, he became involved with playing music from an early age, “I “When we’re remember hearing the guitar solo performing on stage, from ‘November Rain’ for the first we’re channelling all With a series of booked gigs yet time when I was 10 and I just thought that it sounded amazing. the stuff that’s usually to be played, Narrowshed plan to So I went ahead and bought an continue playing local shows to bottled up.” acoustic guitar and started to gain exposure. “At the moment learn.” 7 Years later Yumusak is we just want to play as much as leading the charge as the frontman possible. The end goal for me at of Narrowshed, an accomplishment individual input is vital in constructing the moment is to eventually tour that’s been a long time coming for their songs. “It all starts with an initial the country or even the world. him. “I’ve been trying for ages to get idea, so we might get the guitar riff Obviously we’re taking it one step things off the ground but nothing has down first, and then the bass and at a time for now though.” Currently worked out. It wasn’t until I met Joey drums, and I’ll usually mumble some working up to the release of their (drums) and Alex (bass) that things vocals until I come up with the debut EP, the band are yet to started going good. When Tom lyrics.” Arriving at a heavily distorted release any content on social media (guitarist) joined it all came together and dark sound, it’s surprising to or other music sharing platforms. and I really felt we had something.” hear that Yumusak was once part “I know it’s strange that we don’t of an indie band. “I tested it out use social media more to promote once but it wasn’t for me. Actually and share our music. I suppose it’s As he reals off his musical influences to tell you the truth I hated every because our prime focus at the including Jimi Hendrix and Jim minute of it, I’d rather drag my moment is to make sure everything Morrison, his intense fandom for face through miles of broken glass is perfect before it’s released.” With Kurt Cobain soon becomes clear than ever play indie music again”. Narrowshed assuredly charging (so much so that his Facebook name Perhaps the biggest challenge for forward, you’d be a fool to miss out reads ‘Gabriel Cobain Yumusak’). “I Yumusak is that the rest of the on what the future holds for this band. just think he (Cobain) was really band is based in Birmingham,

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LIVE REVIEW

INTERVIEW

WORDS BY CHARLOTTE MILES

“rock and motown such as artists like AC/DC and Michael Jackson”, he says, Lord grew up in household pulsing with “garage acts like Artful Dodger and 1960s rock bands such as Yes” he reveals. Showing how diverse their influences really are, during the recording of ‘Girl’, Social State were listening to the likes of, “Earth, Wind & Fire, Jamiroquai and Bootsy Collins” whereas for ‘Champagne Dancing’ they were listening to, “The Japanese House, The Wytches, Sam Gellaity and Yellow Days,” explains Hopkins.

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lending hip-hop and woozy electronica similar to Rat Boy and Bad Sounds, Social State are building a reputation for themselves around their hometown, Birmingham with their fuzzy bedroom tunes.

With Brad Lord’s (vocals, drums) blue-tinged dreadlocks and Andy Hopkins’ (vocals, guitar and percussion)

mostly about girls”, says Lord.

However, Social State’s music isn’t just about women trouble and heartbreak seen in ‘Girl’ but focuses on the pains of adolescence, “Lifelong pain, isn’t it a shame, look what I became […] there’s no words for this generation”, seen in ‘Champagne Dancing’.

Whereas the sample based,

“ARTISTS AND BANDS NEED TO EVOLVE THEIR SOUNDS AND PUSH BOUNDARIES A BIT MORE” psychedelic shirts and fingers full of gold, subtlety isn’t the first word that springs to mind when you see Social State.

The duo’s eccentricity only just begins with their appearance as they blend genres and sounds from reverb-heavy synths to glitchy beats.

“When it comes to songwriting we try to tell a story with our lyrics so most of our songs are based on life experiences,

‘Given Up’ focuses on a young woman’s battle with paranoia with disturbing images of how she will be, “living on the streets by the times she’s 23”.

Currently performing in the underground scene of Birmingham, Social State are itching to give the music industry a new lease of life with their fusing of various genres. Whilst Hopkins grew up to his parents listening to

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THE LOUISIANA, BRISTOL OCTOBER 10, 2017

7/10 WORDS BY OLLIE CLARIDGE

Producing music in their bedrooms and organising gigs in pubs and university halls, their music pays tribute to everything DIY. This is shown through their homemade music videos such as ‘Given Up’ which follows the duo causing trouble around the streets of Birmingham with a megaphone and ‘Girl’ which was produced on a £10 budget. “We were inspired by music videos such as ‘Sabotage’ by The Beastie Boys and ‘Domo 23’ by Tyler, The Creator,” explains Lord.

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t the tender age of 18, George van den Broek is the talented songwriter and producer behind Yellow Days.

Incorporating sentimental and remarkably intelligent wordplay layered over blues guitar and animated beats, his debut EP Harmless Melodies has attracted heaps of positive attention. It’s therefore no surprise that he’s sold out the humble upstairs space of Bristol’s The Louisiana.

Currently unsigned, the band are looking forward to signing with a label but aren’t fussed if it was to a major or independent just as long as their music is getting heard. “A lot of people think that major labels are evil and unfair to their artists but we think it comes down to having the right legal team behind you and support from the label when it comes to signing contracts,” explains Hopkins. As Social State’s music is so diverse and alternative the band feel frustrated with the lack of imagination and creativity within the music industry. “We feel as though artists and bands need to evolve their sounds and push boundaries a bit more, but that’s how we feel about the music scene in general to be honest,” says Lord.

Having only been together for a year, the duo are still experimenting with their sound and finding their feet. The production needs sharpening but it’s a remarkable introduction from these bedroom producers whose ideas will fully flourish in a few years with more practice.

However, what is clear is that Social State have quickly distanced themselves from the average band with their trippy mix of rap meets indieelectronica. Having performed with the likes of Baby Strange, Bad Sounds and Too Many T’s, Social State are preparing for their upcoming tour.

The band jump into alt-pop fan favourite ‘A Little While’. His souldriven voice carries heaps of emotion whilst he brandishes an impressive vocal palette through eloquent yelps and howls. Accompanied by a satisfying groove, songs such as ‘Little Palace’ and ‘Gap in the Clouds’ provoke a steady sway in approval amongst the crowd. The set closes with ‘Baked in the Sunshine’, a

suitable conclusion that incorporates vibrant keyboard to perfectly encapsulate a lazy summer afternoon.

With everything assured, there was maybe a sense that the 45-minute set was too long.The band’s constant reverberating output can become distracting, with the various vocal swirls and hazy guitar lines blurring certain tracks together. With his

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He begins the set with a mellow crooning of ‘So Terrified of Your Own Mind’. Silencing the audience to a captivating array of his talent, the vulnerable lyrics and ominous guitar tone make for a gloomy yet spellbinding display. It’s not until the full band is introduced to perform his debut EP opening track ‘Intro’ that the set is enlivened. The slacker-style jam plods along through a smooth bassline, concluding with a jaunty, Mac DeMarco-esque guitar solo that energises the audience.

debut album, Is Everything Okay in Your World? releasing on October 27, it will be interesting to see how Yellow Days’ new material is transitioned into a live performance. Nonetheless, he certainly takes an enticing new path, proving great promise for such a boundless young talent.

PHOTO : EMMA SWANN

SOCIAL STATE

YELLOW DAYS

OPINION

WHY DOES #METOO MATTER? WORDS BY ELISHA CLOUGHTON

T

he last few weeks has seen multiple influential figures in both music and film be called out for sexual harassment and/ or assault. The hashtag #metoo has spread vastly across all social media platforms to encourage people to speak out against these creatures and also offer support for those that are suffering in silence. I’ve seen many comments about how these accusations are “unnecessary” (see Morrissey on Kevin Spacey and Harvey Weinstein) and multiple faceless Twitter users voice their opinion on how they cannot understand the ‘point’ in speaking up about these incidents years later. I want to enforce the fact that yes, there is a ‘point’ in telling the world about your experience with certain figures in the music industry, and why.

First, let’s take the fact that sexual harassment within this industry is not new. Although musicians are only recently speaking up about it, people like Tom Jones and Mariah Carey have both said that they’ve experienced something like this

in the past of their careers. Jones explained “Things have always happened in the music industry...

There’s been people complaining about publicists and different things they’ve been expected to do to get a record contract.”

Jones rose to fame in the 1960s, so that’s at least 50 years this shit has been going on for.

There have been a lot of accusations made against pop punk bands in the last few weeks. Luke Rockets from With Confidence accused of sexual misconduct with a minor, Jesse Lacey from Brand New accused of soliciting nudes from a minor, Glenn Harvey of Moose Blood accused of sexual harassment. I’m not sure why there seems to be a pattern here, but there is. The majority of these bands, as well as others, have parted ways with those that have been accused which sends out a very strong and important message to say that this will never be accepted.

However, with no apparent ‘concrete’ evidence, is there really any need to even address these

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issues? OF COURSE THERE FUCKING IS. You’d have to be absolutely delusional to think that just because there is a lesser chance of these people being prosecuted, or anything of that nature, that these men and women shouldn’t talk about their experiences. It helps others know that maybe it’s not just them that have had to go through it, it’s not just them that have suffered in silence for so long and been too afraid to speak to another living soul about it, it’s NOT THEIR FAULT but the fault of these predators that are well and truly abusing their power.

If nothing else, it offers solid support and comfort to those that have suffered, not even just within the music industry but in any circumstance, and may give these wonderful people the courage they need to speak up, get the help they may need, and make a change. Continue to stand up and call out these vile men, this needs to stop.

PHOTO : BILLBOARD

OPINION

WHO THE F*CK IS TAYLOR SWIFT? WORDS BY LUCY WYNNE

“I’m sorry the old Taylor can’t come to the phone right now.

Why? Because she’s dead.”

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londe hair and blue eyed country beauty Taylor Swift has had multiple appearance changes throughout her thirteen year career - but why? Just who the f*ck is Taylor Swift? Her rebellious streak began after the release of her fifth studio album 1989 with hit songs like ‘Shake it Off ’, ‘Blank Space’ and ‘Bad Blood’ - revealing her inner psychotic side towards men who cannot stay faithful and a lash out at ‘I Kissed A Girl’ popstar Katy Perry.

In her new music video for ‘Look What You Made Me Do’ she has all of the old Taylor Swift personas underneath her trying to climb to the top; where she is stood wearing a black leotard with ‘POP’ written on it in diamondlike studs, it was a huge success and has broken the world record for the most-viewed music video in twenty four hours.

All of the old personas end up arguing with each other, it is as though they are all of the important years of her life, and

they have been killed by the pop music industry as she never got the opportunity to be a ‘real teenager’ - being famous at such a young age will obviously have it’s downfalls. But this isn’t just about a postponed rebellion she didn’t get to endure having been in the limelight at such a young age.

This is about a transition away from doing innocent music and banishing her teenage reputation to start fresh and reinvent herself.

The transition was done very well, she openly promoted it in a music video and it has broken a f*cking world record. Pop-stars don’t stay young for very long and Taylor has had a fair amount of time being this cute and innocent girl next door who writes songs about boys breaking her heart.

The album covers have steered away from a vulnerable and young girl looking sweetly into the camera, or from a submissive side profile to a dominant woman looking into the camera in her Reputation album cover, with her hair dampened and her neck lifted conveying that

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‘I’m better than you’ look, with newspapers covered in her name surrounding her right-hand side.

The whole world is talking about her and her name is headline in every newspaper, but why?

Because she has ‘changed’? She’s turned into a grungy looking pop star with an attitude, so what happened in between the transition from an innocent country teen pop star to this?

Taylor has grown a huge fan base over her time within the music industry and deservingly so, she’s a prodigal songwriter and has written songs since she was fourteen - just because of a change in musical direction has happened and she’s re-invented her look, it doesn’t mean that she is any less of a role model than she was before.

So what happened from making cheesy music videos to walking down the Victoria’s Secret catwalk and completely reinventing herself you ask?

Taylor grew up, she’s twenty seven - that’s what happened.

INTERVIEW

“It was just the most incredible feeling having over two hundred people singing back the words to songs that I wrote on the end of my bed. I’m welling up now, honestly just thinking about it.”

INTERVIEW

CALUM LINTOTT WORDS BY LUCY WYNNE

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n a cold november evening at Mettricks, I begin talking to the lead singer of pop rock band Calum Lintott about - Germany, Mika, plans for a 2018 UK tour, both Frank and Alex Turner, and also why festivals are so important.

One of his biggest support slots was Frank Turner at The Joiners in Southampton as part of a benefit gig on December 29th 2016. The owner of The Joiners was under the impression it would sell out within a day or so, so he advised Calum to tell his friends to be hot on tickets.

“NEXT TIME YOU INTERVIEW ME, I WILL HAVE SAID I WAS ON A TOUR WITH MIKA.”

The tickets sold out in under three minutes so Calum had no friends who could attend the gig, but this gave him an opportunity to have a care free performance, let loose and show the audience what they have been missing if they haven’t heard of Calum Lintott before..

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PHOTO : EMILY JADE PHOTOGRAPHY

An artist he would love to support, is without a second thought Mika, and then he starts singing ‘Lollipop’, and outrightly says, “I love Mika.

He sounds like Freddy Mercury sometimes, honestly - no joke. I need to get a new support slot now. Next time you interview me, I will have said I was on a tour with Mika.”

Regardless of performing at The Isle of Wight Festival, Common People Festival, and supporting Frank Turner, Lintott claims that his best gig was his recent headline at The Loft which nearly sold out. “It was just the most incredible feeling having over two hundred people singing back the words to songs that I wrote on the end of my bed. I’m welling up now honestly just thinking about it”. Regardless of how good the gig was, festivals take over his mindset when it comes to live performances, “You can do four or five venues around the UK and sometimes four/five people might be there, whereas at a festival you can have two hundred new people, and in some instances thousands of new people watching you.”

“Ok, I think the guy that kind of started it all off for me was Alex Turner from the Arctic Monkeys”.

Arctic Monkeys have had a huge influence on

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Calum from a young age and he dares me to find a video of a twelve year old Calum on Youtube playing a keyboard pretending it was a guitar, he calls it a ‘ketar’, and his brother playing on some pots pretending they were drums.

They were dancing around in his Grandma’s spare bedroom miming to Arctic Monkeys ‘I Bet You Look Good On The Dancefloor’.

Having a German drummer/co-writer/producer who also lives in Germany can come in pretty handy when wanting to grow a fanbase outside of the UK, and to get a lot more exposure and promotion. Jokingly Calum says “actually each person should be a different nationality. I need an Italian, Filipino, a German, and an English, I’ll have a Scottish member as well.” Mo is contacted by the band on Skype frequently and flies to the UK every eight weeks or so. Calum flies to Germany a few times a year to meet Mo and gig as well, they’ve been good friends, and band members for around three years now.

Calum speaks very fondly of his band mates, Laurence Henderson in particular, otherwise known as ‘Hendo’, or ‘Sugar’. Lintott describes him as “The fairy dust on everything, he’s like the melodic goodness on top of the loud noise” and “He’s just the most incredible guitarist in the whole of the universe and in Southampton, he is just incredible. It blows me away.”

Not wanting his songs to dissolve and be forgotten about Lintott aims to release them at the right time with certain content in order to remain relevant. At the end of the year they have plans to release a short EP or a double A-side.

“I would love to release an album, that’s the ultimate to have like my own body of work, ‘I’ve done this’. Be proud of me Mum! But I think it’s again, in terms of strategy - people don’t listen to albums anymore. Real music lovers do though.”

WORDS BY CHARLOTTE MILES

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esponding to his brothers, Noel Gallagher’s performance on Jools Holland in which he had a woman playing the scissors, Liam Gallagher took to twitter to request someone to peel potatoes at his gig in Bethnal Green. Basically, just any excuse to take the piss out of his brother.

THE MANATEES: CITY GUIDE WORDS BY EMILY YOUNG

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fter having recently been picked up by BBC Introducing Solent,TIDO figured there wouldn’t be a better band to talk to other than Southampton’s up and coming indie-pop band, The Manatees.

TIDO caught up with the guys to find out what some of their favourite places within the city are.

Bassist, James Miller, says that his favourite thing would be going to the local West Quay shopping centre, home to over 150 shops. “There’s an Urban Outfitters, which is always good!”

Lead guitarist, Tyler Bloor, takes a much more British approach when it comes to exploring the city, with one of the city’s finest coffee shops. “Definitely Mettricks. It has a really nice atmosphere and they have a great variety of tea.”

Living up to his surname, James Blunt is continuing his Twitter stardom of taking the piss out of himself and others.

Indie band, Reverend & The Makers took to Twitter to name and shame Take That front man, Gary Barlow for asking the public to donate to Children and Need despite himself owing tens of millions for tax avoidance.

When a naked photograph of the Australian singer, Sia emerged online, she turned the tables on paparazzi’s by posting the picture on Twitter whilst effortlessly plugging her upcoming album, Everyday Is Christmas too.

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“You can’t beat seeing Saints play at St Mary’s.” adds drummer James Brearley, who is an avid fan of the Southampton football team.

“That’s undoubtedly my favourite thing to do.”

Vocalist Jay Harris prefers the in life. “Beatnik Emporium. It’s a vintage shop and they always have great stuff. I can’t recommend

finer things really cool some really it enough.”

It’d be stupid if the band didn’t pay homage to their favourite venue, too, right? “Whether you’re in the crowd or on the stage, the Joiners is such a great place to experience any type of music.”

Keep an eye out for The Manatees as they take over Southampton’s Heartbreakers bar and venue on December 21!

OUR TOP ‘GRAMS WORDS BY CHARLOTTE MILES

F

ed up of traditional Christmas jumpers? Then Slaves have just released their Christmas merch featuring Slaves inspired Christmas cards, gloves and even wrapping paper.

Happy Slavemas everyone!

Fans were going wild when rapper, Drake, posted a picture of him meeting Stranger Things star, Millie Bobbie Brown before a gig in Brisbane. Brown is looking calm and collected, whereas Drake is the ultimate fan girl and is featuring the cheesiest grin to show it.

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PHOTO : PHOEBE REEKS PHOTOGRAPHY

OUR TOP TWEETS

WHEN THINGS GO SOUTH

BY SOPHIE BARNDEN AND ROSIE CHALK

01/12/2017

15/12/2017 LIAM GALLAGHER THE KOOKS bournemouth international brighton centre centre

20/12/2017 THE WILDHEARTS engine rooms southampton

03/02/2018 MARMOZETS engine rooms southampton

04/01/2018 THE HUNNA o2 guildhall southampton

08/12/2017 SILVERSTEIN talking heads southampton

12/01/2018

09/02/2018 THE AMAZONS pyramids centre portsmouth

10/12/2017 CREEPER o2 guildhall southampton

16/01/2018 SEAWAY the joiners southampton

01/12/2017

STONE SOUR brighton centre

THE CRIBS engine rooms southampton

24/02/2018

THE FRONT BOTTOMS pyramids centre portsmouth

11/12/2017 THE DARKNESS brighton dome

18/01/2018 MOTIONLESS IN WHITE engine rooms southampton

11/03/2018

12/12/2017 SHAGGY engine rooms southampton

02/04/2018 THE VACCINES concorde 2 brighton

04/03/2018

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JAKE BUGG o2 guildhall southampton

THE XCERTS the joiners southampton