Soundsphere magazine issue three (2013)

T H E G U I D E T O N O R T H E R N E N G L A N D ’ S A LT E R N AT I V E C U LT U R E

JOIN US AT: www.soundspheremag.com

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JAMIE

DOM

t’s been a long time comin’! Sorry we’ve kept you waiting. It was one of those weird life-changing decisions to do this again. We’ve learned a lot from the last issues, and we wanted you to have all of the glorious content we’ve developed absolutely free. As per, we hope that you enjoy the diverse range of stuff we’ve put in issue three; we’ve the world-beating metal of Asking Alexandria, Grammy winners Halestorm, the genre-bending wizardry of Hadouken!, and the unmistakeable attitude of The Blackout. It makes for one freakin’ awesome printed beast!

We’ve worked more of our core northern roots into this one as well, with a feature on genius York wordsmith Mark Wynn, Sheffield disco-rock powerhouse Reverend And The Makers, Stockton-on-Tees’ alt-indie darlings The Chapman Family and of course, Manchester punk legends Goldblade!

Of course, there’s a bunch more, and we hope you like the balance of content from the moment you turn this over – we always get told that it’s such a strange mix, and that none of the bands we push on our pages should go together, but you know what? That’s fine, because we love that about this mag and its readers, and hope that you do too. There’s also some ace cultural pieces where we get to catch up with Stuart Semple and find out what’s going on at The Teenage Cancer Trust. Should be wicked?! Yeah!

Thanks for reading, as always. We’ve done this out of love, and we appreciate all of the people that helped to make it possible.

Dom Smith, Jamie Mahon and Kieran Schlechter

KIERAN

ALBUMS OF THE YEAR...SO FAR HOW TO DESTROY ANGELS KILLSWITCH ENGAGE BRING ME THE HORIZON STONE SOUR

FEATURES

MARK WYNN TEENAGE CANCER TRUST SONIC BOOM SIX EUREKA MACHINES ROLO TOMASSI THE CHAPMAN FAMILY STUART SEMPLE REVEREND AND THE MAKERS ASKING ALEXANDRIA GOLDBLADE THE GASLIGHT ANTHEM HADOUKEN! HALESTORM THE BLACKOUT

CLUB SPOTLIGHT THE ADELPHI

LISTINGS

SEPTEMBER / OCTOBER / NOVEMBER / DECEMBER Special Thanks

Anastasia Smith, Xander Roe, Family and Friends, University of Central Lancashire, York St John University, Shelagh Jorden and Swift, Metal Hammer, Rock Sound, Duncan Bell, Luke Peters, Mike Brook, Jen Walker, Giles Moorhouse, Jon Harris, Jamie Baker, Rob Holliday, The Noise Cartel, Devil PR, Division PR, Cosa Nostra PR, Little Press, John Robb, Mike Leigh Cooper, Jonathan Sillence, Will Heppel, Anthony Neylon, Megan Baynam, Stannard, Mary Keenleyside, Noj, Cathy Darby, Corp, Jane Dalton, FiXT, Arts Barge, Craig Slaney, Tim Hornsby, Jack Casling, Helen Gilroy, Dean Shakespeare, Sziget Festival, SXSW, Inspired Youth, Pantheon, Hull Fruit Trade, Mor Music, City Screen York, Darcie Hewitt-Dudding, Richard Bell, Jenny Eells, NYBEP, Annie Makoff, Shane Bratby, Steve Nash, Dave Fleming, Colm O’Rourke, Dom Berry, Heather Niven, Evangeline Spachis, Pete Wise, BBC Radio York, Sonic PR, Paul Faller and all our contributors, interns, bands, PR peeps and advertisers. Thank you.

DISCLAIMER: Soundsphere is published by Dom Smith. Soundsphere cannot accept any responsibility for unsolicited contributions to the magazine. No part of the magazine may be reproduced, stored in retrieval systems or transmitted in any form without prior permission. Although Soundsphere has endeavoured to ensure that all information, prices, supplied image resolution, credits and acknowledgements are accurate at the time of going to press but may be sub­ject to change. The views of this magazine are not necessarily the views of Dom Smith. The appearance of an advertisement within Soundsphere does not necessarily mean that the goods/services advertised are associated or endorsed by Dom Smith.

03

We pick out our best alternative records of 2013 so far. If you haven’t heard these four albums yet, then you really should go and check ‘em out!

How To Destroy Angels

ALBUMS OF THE YEAR..SO FAR Killswitch Engage

‘WELCOME OBLIVION’ COLUMBIA

‘DISARM THE DESCENT’ ROADRUNNER

By Camilla Maltby

By Francesca Fortunato

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K

ith his other band, Nine Inch Nails, on hold until earlier this year, Trent Reznor dedicated his compositional

skills to How To Destroy Angels’ captivating album:

singer, Jesse Leach, but it also illustrates the evolution of

‘Welcome Oblivion’. Alongside the haunting vocals of his

the legendary metalcore act’s music over the past fourteen

wife, Mariqueen Maandig and his loyal producer Atticus

years. This album is hard-hitting, emotive and everything

Ross, Reznor has developed a sound which pushes the

we could ever want from Killswitch Engage after waiting

boundaries of experimental electronica. The album begins

for four years since their last self-titled album. Filled

with a cyber-influenced instrumental. The clean stuttering

with stunning guitar solos, driving drums with bass and

drum

clapping

of course Leach’s dominating vocals, musically this

promises an exhilarating experience no one should

album is brilliant and true to the Killswitch Engage style;

miss. HTDA’s single ‘How Long?’ stands out among the

fast, loud and unapologetic. The record is particularly

rest of the tracks. Maandig’s beautiful voice can be fully

lyrically potent with songs about perseverance and living

appreciated as the music enables her fragile vocals to be

life to the fullest, all set to the soundtrack of the band’s

the focus. The electro steady bassline carries meaning and

infamous heavy sound. Leach’s vocals really bring the

determination throughout. It is clear that How To Destroy

album together for us, combining the band’s earlier sound

Angels will easily attract Nine Inch Nails fans as well as a

with aspects of their most recent albums, resulting in

few new additions.

something fantastic that any fan is sure to love.

Bring Me The Horizon

Stone Sour

beat

and

the

consistent

electronic

‘SEMPITERNAL’ RCA

‘HOUSE OF GOLD & BONES PART 2’ ROADRUNNER

By Steve Nash

By Steve Nash

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et’s face it, the swaggering Sheffield upstarts are always going to evoke the most binary of reactions.

But, where the last album ‘There Is A Hell...’ proved that there was plenty of substance behind the swagger, ‘Sempiternal’ shifts BMTH on to another level altogether.

All those disparate elements you expect to find on a BMTH album are here – the electronica, the screams, the melodies, the shouty gang-vocals, the soaring guitars, and the occasionally mixed time signatures – but on ‘Sempiternal’ it’s all been made painstakingly cohesive.

Oli’s vocals, which have in the past been much-maligned, truly impress for the first time and show a range that adds welcome diversity to the album. It finally sounds as though

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illswitch Engage’s new album ‘Disarm The Descent’ not only shows us the return of the band’s former

ith Corey Taylor’s frankly vertigo-inducing tower of projects, it was a genuine concern when he

announced that Stone Sour would be releasing two albums as part of the ‘Bones’ narrative. There have been many attempts at the double release over the years but the result has been one of over-indulgence and a lacking critical faculty. But one doubts Mr Taylor at one’s peril.

‘Part 1’ was a storming collection of slickly produced and delivered hard rock anthems, and ‘Part 2’ continues this trend whilst being sufficiently different in tone to warrant the second purchase.

‘House Of Gold & Bones Part 2’ is marginally slower than

BMTH aren’t trying to prove anything to anybody else

its predecessor, but this isn’t a bad thing. It’s a brooding,

anymore, and in doing so they finally prove themselves

seething collection. It throbs like iron-heavy blood and

worthy of their acclaim beyond a doubt.

makes you stomp along whether you want to or not.

Mark Wynn “R ig ht now I woul d s ay, i f I was bei ng a sm a rt a rse , that on e of my m ai n i nsp i r at ions i s t he i r ide s to m a ke c ool s ongs t hat I l i k e. ”

Gl a morous cup s of tea , hungo ver shopping and Hen ry Mi l l er . Th ese are jus t s ome of the pr e tt y d ar n intr iguing i n sp i r ations for what Yor k l ad , M ar k W ynn d oe s be st: wr i t i ng s ong s and p er f or ming the m in a uniq ue way.

by C a m i l l a M a lt by Photo by Andy Gaines

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rom his music, we can tell that Mark is inspired by all sorts. His freeflowing ideas are combined with

his influence from “the everyday in that intriguing way but not in that other way”. He explains, “It’s a fine line between making an interesting

observation

and

glamourising

a cup of tea just for the hell of it. I suppose it depends how glamorous your tea is.”

After thoroughly inspecting our tea, we take a trip down memory lane where Mark talks to us about the inspiration behind one of his favourite tracks from the back catalogue. “I did a jazz festival in Rye last year. It was August

Reading Festival highlights. Then Black Keys

terms for us when explaining another of his

came on. It sounded okay. And I ripped off one

tunes, ‘Eggs And Juice’. “I went to the shop for

of their tunes to create ‘The Get Off Song’.”

juice and some eggs. Really, I must’ve been hungover. I got some bread also, but that

Moving from his past work to more recent

didn’t make the title.”

music, the album ‘Eggs, Kes And That Bike I Never Bought You Even Though That I Would

Mark’s clever songwriting is taking him around

Like To’ was created with the help of influential

the country as well as continuing to perform in

people who have inspired Mark to move his

his home city of York. His up and coming plans

music forward. “Henry Miller is a favourite

for the rest of 2013? “I’m doing some tours

of mine. I read something about the way he

and will also be putting out a split seven inch.

would just start scribbling with no real idea of

Oh, I’m also going to make some kind of book

what he wanted to say and then it just came

thing as well, so let’s look forward to that.”

out. [William S.] Burroughs is a bit like that I

bank holiday and when I got there it was pi**ing

think. Maybe not.” Developing Miller’s and

Sounds like a busy (and long) road to success

it down. I’d been booked to busk for three days

(maybe) Burroughs’ style, Mark improved his

is on the horizon for Mark. We can definitely

and to do some gigs in the evening.” After being

songwriting technique. “I used to sit down and

expect more quirky tracks from him in the near

soaked, getting lost and eventually finding the

try and write songs thinking that it all came

future. Now then, who wants a brew?

place he was staying at down some dirt track,

from me. Now, I just write down stuff I see and

Mark still found focus to create one of his great

put it in a different order. It’s more fun. More

For more information visit:

songs. “I turned on the TV. I was watching

natural.” He puts that natural style into simple

www.facebook.com/markwynnmusic

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By Louisa Kouzapas Photo by Yui Mok “When ideas for fundraising were suggested by young supporters they often revolved around music, Battle of the Bands and other types of small scale music events. These small local fundraising events are the bread and butter – we may be a national charity but these events show that it has a local face too.” - Abigail Bachelor

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eenage Cancer Trust is a charity you’ve probably heard of - with their high profile comedy and music gigs at the Royal Albert Hall we’d be surprised if you hadn’t. Did you know that every day in the UK six young people are diagnosed with cancer?

The vision of Teenage Cancer Trust is for these people to have access to expert advice and support from the moment they are diagnosed.

With longstanding patron, Roger Daltrey CBE of The Who, it is no wonder that the Albert Hall concerts have become a huge part of the charity’s national momentum. Fronted with an array of household names as ambassadors Noel and Liam Gallagher, Paul Weller, Kelly Jones, Kasabian and Noel Fielding to name just a few - it is easy to see how they continue to pull in such eclectic acts for the shows.

They’ve hosted amazing artists early on in their careers; Florence And The Machine, Plan B, Professor Green and Jessie J among others.

They’ve also had the pleasure of legendary artists like Paul McCartney, The Who, The Specials, Robert Plant and The Cure. Last March they showcased Ryan Adams and

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Beth Orton, Primal Scream, Noel Fielding, Kasabian, Paul Weller and Rizzle Kicks; quite an impressive lineup by any standard.

TCT’s Regional Fundraiser, Abigail Bachelor tells us that music is a core focus for the organisation because it is one of the best ways in which the Trust has communicated with young people, and it’s always received the most positive response. “When ideas for fundraising were suggested by young supporters they often revolved around music, Battle of the Bands and other types of small scale music events. These local fundraisers are the bread and butter – we may be a national charity but these events show that it has a local face too.” As a result of dedicated work, the Teenage Cancer Trust continues to communicate through mainstream music culture in order to keep a youthful feel, after all, if music speaks, let it do the talking!

Of course, the showcases aren’t simply about the music, they are invaluable because they raise a lot of awareness and profile for Teenage Cancer Trust. With these rock and

indie gigs (featuring internationally celebrated talents like Yashin and Kids In Glass Houses) and the Royal Albert Hall shows, the organisation can continue to educate on the issues surrounding youth, health and cancer.

TCT Music Coordinator, Jen Walker says: “These shows have become our flagship events so we really push the boat out and get noticed – it’s important that people know that we exist, who we are and what we do because without that we wouldn’t be able to build units around the country or supply the specialist staff that these young people need.”

The Teenage Cancer Trust are always looking for people to get involved and help with their mission, be it as a donator, a fundraiser or a volunteer. All they ask is for people with a passion for the cause; cancer is a difficult thing to talk about but this group tries to be positive in its approach. If you are confident, enthusiastic and wanting to help out in any way then get in touch!

For more information visit: www.teenagecancertrust.org

By Paul Faller

W

hat’s a band to do when they find themselves part of a disappearing genre? That’s the question Sonic Boom Six had to ask themselves after they watched the ska-punk scene shrinking around them, as vocalist Laila Khan recalls. “Originally, we were part of the DIY, underground skapunk genre for a long time, it was like a little family. We did that for ages until all the bands around us split up, and we were like, ‘What do we do next?’”

The decision to release their fourth album as a self-titled record is a clear enough indication that the band wanted to reinvent themselves.

But while it was the mighty single ‘Virus’ that heralded their new crossover sound, Laila reveals that they could have gone in a completely different direction. “The first song we wrote for that was ‘Sunny Side Of The Street’, and we thought, ‘Yeah, we’ll do a reggae-ska mix’, and then James [Routh, guitar] came in with the synth bit for ‘Virus’ and we were like, ‘oh my God, this is it!’”

Laila reveals the band are on a bit of a fitness kick, and that it’s been beneficial to their on-stage performance. “Since I’ve stopped drinking, started working out rigorously, and started changing what I eat, I’m a much happier person and I put on a much better show.”

Finally, we ask Laila to offer some advice for northern bands who may be worried about the London-centric nature of the music industry.

“I find that so old-fashioned, that you need to make yourself successful in London. If you want to do well, you’ve got to be completely determined, you’ve got to know it’s all on you, and you’ve got to write good

songs!” And while Laila acknowledges that it can be easy to get disheartened, there’s always something in the back of her mind that keeps her motivated. “I’m yet to meet someone who gave up in a band that doesn’t regret it a little bit, and that keeps me going.”

For more information visit: www.sonicboomsix.co.uk

Laila also indicates that the band’s next record might even take them in yet another new direction. “We’re at a crossroads, because with the next album, we don’t know whether we want to keep with the Skindred and Pendulum-type rock and dance style, or go a bit more rock-pop and dance - sort of like ‘Hella Good’era No Doubt. We’re at the point now where we don’t want to make the same album again.”

Long time Sonic Boom Six fans shouldn’t worry though, as Laila tells us that the band certainly aren’t averse to playing some of their biggest hits from the past. “If someone’s in the crowd shouting for ‘Bigger Than Punk Rock’, then we’ll play it, and we’ll just have fun with it. I’ve witnessed a lot of bands that deny their back catalogue and won’t play certain songs, and I just find that so embarrassing.”

You might be wondering how Sonic Boom Six maintain their energetic stage show during a hectic touring schedule, and

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“ Yorkshire is the lifeblood of Eureka M achines”

By C A M I L L A M A LT BY

S

inger-songwriter, lead vocalist and guitarist, Chris Catalyst of Eureka Machines has concentrated the multitude of his musical talents into that band’s electrifying new album ‘Remain In

Hope’. We at Soundspheremag have the pleasure to discuss with Chris the inspiration resulting from his Yorkshire background, the new record and the influences which drove his music to success.

“In many ways Yorkshire is the lifeblood of Eureka Machines,” Chris proudly tells us how his home city inspires the diverse pop-punk sound.

“The scene, the camaraderie, the DIY vibe and the amazing venues we have to play in, not least the Brudenell Social Club.” He seems to love the area so much that he has no intention of leaving. “I don’t have any huge aspirations to do much better than I am. Most of the musicians I know do end up in London, or LA. I’d rather stay up here and earn an okay crust than go after the big bucks.” Chris’ modesty and selflessness is particularly refreshing and inspiring to other musicians as it goes to show you can stay up north and be successful.

There was a palpable feeling of ‘we are doing this for you’, none more so than when I’d be sitting in my home studio working on harmonies or keyboards or something and another three or four pledges would drop in through the e-letterbox. It’s brilliant knowing that you have an audience waiting for it.”

As well as the fans being the inspiration to create another great album, the hard work and dedication which has been embedded within the eleven tracks has been incredible. “As an album, we feel it’s our strongest work yet, by some margin.” Chris continues to share with us his biggest inspiration for the new album. “I think most people write about facets of their own personality, or how they feel now, or how they felt ten years ago or how they might feel if suchand-such happened. I’m less afraid of writing about how I actually feel now, rather than dressing it up as what someone else might feel.” Chris’ heartfelt lyrics are evident throughout ‘Remain In Hope’, especially in the tracks ‘Love Yourself’ and ‘Believe In Anything’.

Eureka Machines’ latest eleven track effort, ‘Remain In Hope’, is the band’s most exciting project yet. There was much doubt in the air for

Finally, Chris shares with us his plans for the near future. “I’m hopefully

the four-piece band as the option of calling it quits was discussed. “This

going to be doing some writing with a few people you’ve heard of pretty

was our final roll of the dice. We launched a PledgeMusic campaign

soon too, although some of those people will be a bit of a surprise. I

for this one, with myself having been involved with Ginger Wildheart’s

want to do a solo album sometime in the not-too-distant as well, but I

incredibly successful campaign last year, and we were surprised but

think it’d be stupid to do that before another Eureka Machines album.

overjoyed at the level of support we had, which was over twice as much

Or maybe it wouldn’t. I don’t know. Hey, it’s always fun finding out!”

as I thought we’d get.” Chris’ realisation of what this album meant to the

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fans enabled the band to rekindle their passion for music. “We weren’t

For more information visit:

sure what the point was any more, and then it arrived, right in our laps.

www.eurekamachines.com

“IF

A

P E E K O T N O I

T A V I T O M E TH

new album, never sleeping, relentless touring, homesickness, a double solo album, the connoisseurship of Bloody Marys, workaholism, and going Gold (well, sort of). Here’s what we

Third album, ‘From Death To Destiny’, is clearly something that AA are

learned when we sat down with Asking Alexandria’s own Energiser

album. It’s 10 million times better than anything else we’ve ever done.”

bunny, Danny Worsnop.

Strong words? Maybe. Hyperbolic? Definitely. Still, there’s no denying

immensely proud of. “However big and successful some of our previous tracks have been, they are going to be dwarfed by the new songs on this

that his enthusiasm is infectious.

They may be huge around the world now, but Yorkshire’s own Asking

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Alexandria aren’t letting success slow them down. “I woke up and had

We are keen to find out how the boys have managed to keep evolving,

a Bloody Mary today,” Danny laughs. “I’d only give it a three out of ten

and if they feel they have challenged themselves enough on the new

though. I’m a connoisseur. You get a good one, you’re in heaven.” The

effort. “Man,” he chuckles, “I wish I’d found a way to challenge myself

inexorable schedule and grind of a young band in their ascendancy is

less this time around. It’s f**king ridiculous. ‘The Death Of Me’ is by far

something that has slain a great many lesser outfits, but it’s clear that

the most difficult song I’ve ever written. It’s so exhausting, there’s no

Asking Alexandria thrive on such pressure. “Sleep is still a privilege we

room to breathe.” With such a display of progression on the album we

don’t get to enjoy as much as we’d like,” Danny groans. “The thing is

query if there is a particular tune in this latest batch that Danny feels

though, I’m my own worst enemy. The time I do have off I just fill with

defines where he is as an artist. “‘The Road’, is definitely that track. It’s

more work.” With a new AA record here and a solo album in the works,

my favourite on the album. It’s all about being homesick, overworked

Danny is a man too unfamiliar with time off.

and tired.”

” !

E I D E W , RS

A E P P A S I D OING

G

It’s obvious that in spite of their great love of touring, the pressures of the

h s a N e v e

By St

of working. It’s nice to have both because I get the best of both worlds.”

road inevitably take their toll. “I wish in this era, bands could just take six months off to recover and then come back, but you can’t take a hiatus in

So, with (potentially) two albums to assail our ears, it looks like the rest

this business.” He’s right of course. With the landscape of the rock world

of 2013 is going to see Danny and Asking Alexandria in typically hectic

constantly shifting and being in flux, there is no window for the band

mode. “Plans for the rest of the year?” he muses over our question.

to rest. The obvious question then is how do AA keep that enthusiasm

“Touring; just touring non-stop, and generally overworking myself until

going? “Motivation is everything,” he replies. “If the motivation to keep

I keel over.”

going disappears, we die!”

When we last spoke to Danny in 2012, he told us how his goal was for Motivation is certainly not something Danny lacks. In addition to the

the band to go Gold with their last record. He leaves us by announcing

new AA album, he’s been working on a wealth of solo material with a

“It’s happened! We’ve done it. We went Gold.” After a pause though he

diverse array of other musicians. A guitarist for Eminem, a drummer

concedes, “Well, kind of. It’s accumulative so it doesn’t really count,

for Lady Gaga, and bassist for Silvertide are among the luminaries the

but our sales figures have passed 500,000 altogether now.” So what’s

vocalist has been working tirelessly with. “We’ve got almost 100 songs,”

the next goal? “Platinum!” he laughs. Danny may be joking but, with

he beams. “We’ve pared it down to 24 tracks though. It’ll be a double

‘From Death To Destiny’ sounding as awesome as it does, we definitely

album.” Danny clearly relishes the chance to test himself by working in

wouldn’t bet against it.

new ways, and this solo project presents a very different beast to the

For more information visit:

creation process with AA. “It’s a different way of writing, a different way

www.askingalexandriaofficial.com

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Goldb l a d e

A new album, extensive touring plans, a book, gigs c e l e br at i n g t h e N H S , t h e s tat e of m od e r n l i f e , a n d p i c k i n g up t h e sl a c k . W e c o ul d on ly h av e been c h at t i n g t o J oh n R obb f r o m G ol d bl a d e .

The Manchester legend.

By Steve nash Image By Mudkiss

I

ndeed, the north’s finest punk rockers may have enjoyed the kind of longevity which is all but unheard of in these fickle musical times but, when we sit down to chat about the new album and extensive touring plans, it is clear that Goldblade aren’t losing steps just yet. In fact, they are as vital as ever.

band? “Well, it’s important to never lose your edge when creating music.

With ‘The Terror Of Modern Life’ freshly produced, we are keen to find out how the band would characterise the sound of their latest release.

“We were determined to make it as ferocious as it’s meant to sound.

It’s a dark record but it is a pretty exciting record too.” John’s not wrong either. You could easily forgive a band who’ve been around the block and back again as many times over as Goldblade for losing some of their early energy and urgency, but there’s no sign of them breaking out the pipes and slippers just yet.

It’s been a busy 2013 for JR and the boys. After launching the album

Across the album’s thirteen tracks there are plenty of highlights and that means picking favourites is an arduous task. Undaunted we query about the intricacies of ‘The Shaman Are Coming’. “It’s got a naggy, incessant guitar riff” John begins. “There’s something quite tribal about it. We wanted the chorus to be the opposite of the verses. There’s a lot of shouting on the verses, but then the chorus is quite light. It’s all about mixing the light and the shade.”

It is astonishing that an album from such stalwarts can sound so fresh, so we ask if the recording has presented any new challenges for the

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We had it all recorded last year but then fell out with the label so had to re-record it. We made sure that we kept up the same energy levels though because we didn’t want to create a slack record.”

(and a book by Robb chronicling his tour with Mick Jones of The Clash), there’s the inevitable gigging, some festivals, gigs to celebrate the anniversary of the NHS, another tour, and plans to take on Europe and America before that fat lady sings us into 2014. It’s clear that performing is one of the many things that keep Robb defying the years. “It’s great to meet new people coming into this odd little world we exist in, and all the old faces too. We get people bringing parents and kids. Three generations coming to our gigs. It’s punk rock plus.”

So, whether you’re new to the Goldblade party or have followed them from their beginnings, there’s never been a better time to grab their latest release and then treat yourself to a gig you won’t forget.

For more information visit: www.goldblade.com

Rolo Toma s s i

As R olo To m as si p r epa r e to e m b a r k on t h e n e xt l e g of t h ei r c o sm ic mu sic a l jo ur n e y a f t er l as t y e a r ’s t e r r i f i c ‘ A s t r a e a ’ L P, S o u n d s p h e r e m a g c a t c h e s u p w i t h synth pl ayer and second vocalist Ja mes Spence to ta l k Y or k sh i r e r o ot s , s t r i n g q u a rt e t s a n d d e a l i n g with success...

REAL NOISE REVOLUTION

By Pete Wise Image By Chris Ensell

E

ver since Rolo Tomassi first jerked their way onto the UK underground scene back in the late noughties, they have consistently raised the bar for their peers with flawless and evocative live performances, alongside some mind-warpingly brilliant recorded efforts. The rewards have been plentiful, from mag cover shoots to earning the right to curate a stage at Tramlines Festival – a cultural institution in the band’s native Sheffield. It’s an inspiring story, perhaps particularly so in the eyes of northern music fans, given that all this was achieved without a move south of the Watford Gap. James tells us: “I really don’t think that where you’re based has any kind of bearing on success. If you’re well-organised and good at what you do, and you care about it enough you can make it work anywhere.

You’ve just gotta make sure that you’re doing it for the right reasons.”

We suggest originating in Yorkshire could perhaps even have helped the band (in some ways) over the years, pointing out the thriving community of acts co-operating in the region. “It’s cool. I mean, we’re based in Nottingham now. A few years ago we were more involved with music in Yorkshire, and there are a lot of bands like Pulled Apart By Horses that we’re still in touch with – everyone will still help each other out.”

Rolo Tomassi currently occupy a position in the very highest echelons of alternative music, nationwide. We wonder if life’s any easier for

the band now they’re near the top? “Continuing it at the level that we want is the biggest challenge. It is difficult for bands to exist in the current climate, I suppose. It’s just a case for us of keeping busy, and continuing to make interesting music, and I think that’s the crux of it, it’s maintaining a level of quality output in terms of material. The whole being in a band thing is worth it, because what we’re doing is relevant to ourselves.”

So just how are James and his bandmates staying relevant to themselves and their audience with their new material? How does the future sound? “For me, it’s developing each extreme of the music, the technical stuff and the more heavy parts of it, and trying to push myself with that, and then equally the more subtle moments too. I’ve been trying to write something for a string quartet, that’s something that interests me because it’ll challenge what I’m doing and how I’m used to writing.”

Rolo Tomassi with a string quartet!? Now that we would like to hear.

Previous form would suggest that whatever comes next from Sheffield’s finest will make for great listening. If it’s an improvement, we could truly be looking at one of the greatest ever acts to emerge from the UK’s underground.

For more information visit: www.rolotomassi.tumblr.com

15

“ I wa n t p e op l e t o be e n t e rta i n e d by my w or k , a n d e n j o y t h e e x p e r i e n c e ”

16

Killing J o k e

STUART SEMPLE

By S i m on A l n a i m i

C

ontemporary artist and all-round nice guy Stuart Semple chats to us about his current and upcoming projects. Already a collaborator with Yorkshire band Officers, Stuart discusses his further involvement on their upcoming output, and how it will be much different than anything that has come before, “I think with the last album we were quite restrained but this time [with Officers’ new material], we’re injecting a lot of colour and almost a psychedelic tinge into it.” 90s cult band Dubstar have also received the Semple treatment recently, with a video, photoshoot and cover art in the works. “I wanted to do something really new with them,” he explains, “it’s been more about re-imagining what they are now ‘cause they’ve all changed a lot over the years.”

Giving an insight into his creative ways, Stuart describes a synaesthetic process involving lyrics and the meanings he interprets from them. Using the ‘Afraid Of Your Love’ artwork he did for Officers earlier this year as an example (picture on opposite page), he describes, “It sounds totally mad, but that’s a bit of an abstraction from a lyric of Echo And The Bunnymen.

In that song [‘Seven Seas’], the vocalist says something like ‘stab a sorry heart with a wounded finger’. That’s a really powerful image. I was listening to that and I started making the collage.”

Stuart has also worked with globally established names in music, including Lady Gaga and The Prodigy, but bigger names do not necessarily mean better rewards for Stuart. “I didn’t enjoy the Gaga thing as much, because there wasn’t that relationship [with the artist] where we could collaborate.

It was such a big machine.” Luckily, other big names have been more inclusive. “With The Prodigy, I’m close to the members, so we did exchange a lot of ideas for their stuff and it did feel a lot more genuine.”

Despite working with big names, Stuart does not see it as a case of him being very successful, “I do it because I love it, I don’t do it to get paid, the pleasure for me in those things is in the collaboration.” While the bigger names may have less time and as a result, appear more impersonal, it is Stuart’s more intimate projects that have become his creative lifeblood.

The will to achieve creatively rather than financially is arguably the biggest reason for Stuart’s success. He comments: “Getting a career in a creative industry is a by-product of making good work. It’s not like you’re gonna make decent work when you get some money, you have to find a way to make the work.” He also speaks of his own humble beginnings, “My career started with putting work on eBay for two quid, I was working with a piece of paper from the art shop and some pens. You have to make a start and you have to keep doing it.”

Talent and achievement aside, Stuart is also an ambassador for the mental health charity Mind. “Three or four years ago my grandmother developed late onset schizophrenia,” he explains, “it was terrifying what she was going through”. Help was hard to find until he stumbled upon the charity. “We came across Mind, contacted them and it was just really incredible support that we got.” Their genuine approach to the cause was enough to convince Stuart to become a part of it. “I looked a bit more into what they’d done and I met up with them.” Now he’s part of an ever-expanding network to help those affected by mental health. “They’re arguably the biggest mental health charity, but they’re doing a lot of really good work across the board.”

Right now, there are plans for Stuart to take more of his work abroad this year, “I’m working towards a series of shows in Australia, it’ll be a tour so I’m making a whole load of new work for that.” When asked how his work is received around the world, he quickly gives us a glimpse into the attitudes that different cultures have to his style, “I’ll go to Italy and that’s the place where my work’s most popular. They love it.” But it’s not always the same reaction. “New York are almost too cool for it, they’re too hip for that sort of thing.” But Stuart Semple isn’t trying to make art that is hip, as he concludes: “I don’t want to put people off. I want them to be entertained, I want them to enjoy the experience. I’m making it for that reason.”

For more information visit: www.stuartsemple.com

17

“Gone are the days where we have to bow to the London media�

18

By J on at h a n C r i d f or d Images by Roger Sargent

R

everend And The Makers occupy a rather unique position

alone. Of course, this was a far cry from last year’s ‘@Reverend_

in the current musical climate. Their diverse catalogue has

Makers’, the “good time” album that McClure speaks of. Sure enough,

encompassed everything from rock to electro, via folk, funk

one couldn’t help but be drawn in and cast their doubts to the wind

and pop (it’s why we like ‘em), all the while steered by the down to

– lead single ‘Bassline’ and FIFA 13 favourite ‘Shine The Light’

earth yet almost quixotic presence of frontman Jon McClure. Picking

hum like the inside of the Haçienda and reek of the same attitude.

up a name for themselves as something of a cult act, The Makers were offered a golden opportunity of supporting Oasis on what would be their

Just as open-source networks such as YouTube offer every budding

final tour in 2009 before taking a short hiatus. Knuckling down in the

musician the chance to develop an audience for their music, the likes of

studio on the follow-up to last year’s ‘@Reverend_Makers’ – named

Twitter have – certainly for McClure – provided a platform for sustaining

after the band’s Twitter address – the group are certainly keeping busy.

that audience, from wherever he happens to be. Indeed, for the die-hard Yorkshireman, the streets of London are not paved with gold. “Gone are

Barely awake but with a palpable determination in his voice, McClure is

the days where you have to bow and scrape at the bit of the London

itching to “crack on” with the fourth Reverend And The Makers record –

media; social media and the internet have blown print media apart –

even over the phone, the passion for his music is unbridled. “We were

it gives a far greater circulation for getting your music out there.” As

really encouraged with what happened for the last album going into the

the classical model of the music industry grows ever weaker, the savvy

Top 20 again: the reception that ‘@Reverend_Makers’ received and the

McClure moves more into his element: “I like talking to people on Twitter,

success of the tour gave us confidence to get straight back to it.” Once

and that’s helped our records get where they are. If I’m asked to hang

again, the diverse range of influences touched upon throughout the

out and play my guitar after a gig, I’ll do it.” We at Soundspheremag

band’s career will be providing the groundwork for new material. “We

HQ can’t help but feel some empathy with his words, functioning as

have reinvented the sound a little bit, just as we did last time.” With The

we are from the humble city of York. “You’re always connected, man,”

Makers being such a dervish of genres, we ask Jon how his experiences

he assures. “You can engage in York with Rio de Janeiro or Mumbai.

within music have developed him as a person: “I started out as a lad from

It’s really empowering.” It’s all too easy to rhapsodise further on this

Sheffield, talking about stuff I saw, from where I was. I then started taking

stuff, but we move for any final remarks, and whether McClure has clear

myself a bit seriously – becoming political, getting down in the dumps,

highlights from the forthcoming material. “There’s a wicked new track

which comes out on ‘A French Kiss In The Chaos’ [2009]. Now I’m calmer,

we’ve got called ‘Keyboard Warrior’, it’s like a 120 tempo Soulwax sort of

not getting so out of it and am just in a good place to get into creating.”

thing – it’s a bit tongue-in-cheek, about kids ‘on the internet’, as it were.”

It must be said however, that the self-professed “down-in-the-dumps”

As the conversation draws to a close, one gets the sense that

bloke referred to here, has yielded some of the band’s most interesting

here is a man truly in love with life and at his own admission, not

material – behind that psychedelic artwork [of ‘A French Kiss...] stood

content to sit still and rest on his laurels. Rather, he enjoys the

strong, politically-charged works such as ‘Hidden Persuaders’ and

diversity and rapidity that his career affords him. Nice work, lad.

‘Hard Time For Dreamers’, the lyrics from which the album takes its name. Blending the folk influences with the band’s penchant for horns

For more information visit:

and percussive flourishes, these two songs are worth the admission

www.reverendmakers.com

19

We

dig

most

deep

into

c e l e br at e d

H ul l’s

gig

venue

The Adelphi, and speak with legendary Jackson

manager about

the

Pa u l local

scene, getting advice for the a s p i r i n g p r o m o t e r , a n d w h at e xactly

makes

the

place

so

memorable.

By James Elston I m a g e b y Pa u l J a c k s o n

H

uge acts, including Green Day and Jesse James have blessed the stage, mere moments after born-andbred Hull acts warm up the crowd and contribute to

a stellar line-up of local acts. Paul comments, “30 years on, and it’s still great. We still have amazing acts, from locals to much bigger artists, there is still an amazing community of fans and regulars.” Anyone who’s been can tell you, the atmosphere at The Adelphi is simply intoxicating. The instant charm of walking into a club and thinking “this feels distinctly like someone’s house” is brilliant, and the restricted size only contributes to the personality of the place. “Bands come from all over the world to play in Hull, and I don’t think it’s just for the gig, it is to experience the atmosphere, and to stay, meet local fans and artists while enjoying the club.”

Eventually the subject of the conversation changes, to the city of Hull itself, and more importantly, its reputation. “I think the place gets a lot of bad publicity, and it’s mostly unfounded. You look at the list The Guardian posts annually of top university experiences, and Hull is always in the top 10.” The Hull music scene is as alive and dynamic as ever, with a diversity from smaller sixth form acts, to revered local artists.

More and more, the north of England is becoming recognised as a home for culture, and the birthplace of some amazing new talent. Cities like Hull, York and Leeds are increasingly developing as places less attributed to stale old pubs and sour-faced fishwives, and more to art and culture.

So what’s the future for a club as dynamic as The Adelphi?

As well as anniversary celebrations, drama is set to be properly introduced to the roster as the club will begin showing Shakespeare at certain times, as well as the usual events and shows. Paul shows no sign of slowing things down. “I’ll be doing it as long as I can be doing it, The Adelphi is going nowhere.”

For more information visit: www.theadelphi.com

21

“ W e ’ r e e v olv i ng as a b a n d away fr o m j u s t bei ng a ng ry ”

Recently we were lucky enough to sit down with Kingsley Chapman, lead singer of The Chapman Fa m i ly, t o ta l k a b o u t w h at i t m e a n s t o be a b a n d f r o m n ort h e r n E n g l a n d , a n d w h at t h e i r i n s p i r at i on s a r e at t h e m o m e n t f o r u p c o m i n g a l b u m , ‘A d u lt ’ , w h i c h comes out in autumn.

22

By Dana Isaly

T

he Chapman Family are a self-described “noisy northern

the day, Kingsley says that he can see the arts world falling to pieces

English angst rock” band from Stockton-on-Tees comprised of

with funding being dropped. The band just wanted “a bit of escapism

five Chapmans: Kingsley, Pop, Owen, Kevin and Scott. Formed

and something to put fire in the bellies of other people through music”.

in 2006, their first single was released in 2007 followed by a full-length in the form of ‘Burn Your Town’ (2011), with another one coming. We’re all pretty darn excited, truth be told. Being a band from the north, The Family appreciates the local connection they’ve always experienced with fans. Even though they are well-received and get much deserved recognition down south, coming back to places like Hull and York, the smaller cities and venues, is still the most important thing to them. Having the audience up close and personal is “the best feeling in the world”.

Playing gigs in smaller towns like Sowerby Bridge and Danby, and in more unconventional venues like art galleries have caused Kingsley to “like playing the quirkier end of gigs” for that aforementioned connection.

Even though being from the north can have its disadvantages, like lack of recognition due to being so far away from where it’s (apparently) all happening in London, Kingsley feels that the isolation of the north can be a blessing in disguise. With this isolation comes the lack of pressure

That original inspiration and passion has turned in to a lot of hard work.

Kingsley talks about how his band had been constrained with regard to when they could release material when working with other people in the past. Last year, the band decided to take things into their own hands and released their EP ‘Cruel Britannia’.

It’s clear, great things are on the horizon for the group, with their next full-length nearly ready to go, scheduled for release in the coming months. When we ask Kingsley how the music is evolving from earlier work, he says simply that they are growing up from the pure violence and aggression of their past songs and becoming more “clever” about creating. “We’re evolving as a band away from just being angry; drinking, partying and breaking things to showing our more mature side,” he reflects.

to look and sound a certain way to match “whoever is looking good that week”. It gives them a chance to become their own band and shape their own sound.

Of the new material, Kingsley comments on how this change in attitude might make an impact. Bringing up one song in-particular, ‘This One’s For Love’, he says: “We’ve not gone completely soft. The album is being

The inspiration that Kingsley gathers from his home city of Stockton-on-

split in two with the A-side concerning itself with love and the B-side

Tees isn’t inspiration in the traditional sense of the word. “The biggest

showing the more aggressive tones to the music, with one particular

thing Teeside has had to look forward to this year is an Olly Murs

song containing at least 60 ‘F’ words and 4 ‘C’ words.” Appreciating all

concert which doesn’t really evoke the inspiration I’m looking for.” The

the proper graft they’re putting into this album, Kingsley concludes, “I

Chapman Family was created from the drive that arose from being bored

just want it out now, I want people to hear.”

and sick of what seems to be unfairly happening within the arts scene

For more information visit:

in Teeside and surrounding areas. Working in a gallery himself during

www.facebook.com/TheChapmanFamily

23

By Jonathan Cridford

“We fight and argue, but we’ll always be brothers”

Un til

t he

r el ease

of

t hei r

f o urth

a l b um

‘H a n dw r itten ’,

th e

Gasl ig h t

A n t hem seemed to op er at e jus t belo w th e c om m erc i a l r a da r as a h ig h lyrespect ed

y et

Horowi t z

over

such

modes t ly

s tat ement s :

a

s uc c e s sf ul

c r ac k l i ng “ Wher e

p hon e

p eop l e

a ct. l in e ,

m e as ur e

Sp e a king he th e

is

to

drum m er

q uic k

b a rom e ter

to of

Ben n y

c irc um v en t success

is

in teres t i ng, but I’ ve c onsi der ed mysel f s u c c e s sf ul si nc e 2 0 0 7 w h en I q uit my job and began s up p ort i ng mysel f th ro u g h mu sic . ” W h en th e r e c or d h i t th e ra c k s l as t July, t he b and was i n un dated w ith n e w fa n s a n d be g a n to ride a wave of wel l -deserved a dul ation a c ro s s th e p on d a n d b a c k a g a in .

24

E

merging from a rich tradition of

it went so smoothly”. Armed with nine finished

exercise, and for the touring musician there

New Jersey punk bands, TGA take

tunes before producer Brendan O’Brien [Black

can be days or months bereft of creativity,

influence from the Jersey Shore

Crowes] came knocking, the boys drove their

no matter how much of a battering the stereo

synthesis of rock and Motown. If Bruce

van to Nashville to begin putting the record

takes. “It’s funny, I am musician who writes

Springsteen had wandered into CBGB’s and

together. “We were supposed to do a few

and I’ve been doing it for two decades, but

taken The Ramones on as his touring band,

days of pre-production, but on the second day

I’m neither a lyricist or a songwriter – what

you may get an idea of what Gaslight are all

we ended up starting the recording proper.”

Brian [Fallon, lead vocals] and Alex do with

about – the likes of ‘45’ and ‘Mulholland Drive’

Something the drummer does concede is the

their parts is still really fascinating to me. More

hum with that snotty bubblegum attitude, yet

learning curve of “life on the road”, and the

manage to find a homestead in the minds of

universality it holds with fellow musicians and

the “everyman”.

wannabes. “If you add the personal element, just getting through the ideas of life on the

Following a recent stint across the UK, including

road and that fraction spent at home with a

local haunts in Leeds and Manchester, the

cup of coffee is something I could talk about all

band is set to embark on the festival circuit this

day. I think we have all grown as players and

summer. Their continued ability to play stages

technicians – like everything else, when you

alongside even the heaviest of their peers is

first start doing it you’re not as good.”

something to be admired, and for drummer

generally, the challenge is the reward, because you need to continue to make great records and play great tours – doing something that is worth someone’s time. I don’t think that we have the need to ‘up’ ourselves, but we feel that we need to give something legitimate and strong.”

Before we hang up the phone, the affable Mr Horowitz discusses plans for the future: “We’re

Benny, perfectly natural – “We’re doing Leeds

We backtrack to influence for a moment,

Fest and we did Download here, and translating

turning this time to Pearl Jam – the grunge

our sound to those crowds really gets me,

giants who have “laid the foundations” for the

honestly. I mean, within the band you’ll find a

next Gaslight album, and whose aesthetic had

diverse influence – Alex [Rosamilla, guitar] and

already began to take hold on ‘Handwritten’.

I are really into metal – and when we write we

“They’re a band we grew up on. We’ve started

that “the catalyst hasn’t come yet”, the ride that

try to give one another the space to do their

to look at Pearl Jam both for their music and for

is The Gaslight Anthem will continue to move

own thing inside of the song.”

the way they’ve managed their career too: they

on. He says: “It’s like a family, this band. We

have had a lot of success, but have somehow

fight and argue sometimes, but we’ll always be

With ‘Handwritten’ marking a watershed in

managed to stay ‘legitimate’. Putting out good

brothers.” A rock ‘n’ roll call to arms, indeed.

the band’s development, Benny reflects with

albums, and not losing their artistic character

nonchalance on the period, with “no grand

– it’s something to admire.” Of course, picking

For more information visit:

stories about the writing or recording because

apart a band’s collective inspirations is a trite

www.thegaslightanthem.com

touring until the beginning of October, and then we ought to have enough material written from the tour to go and take a few weeks off before working on the new record.” Though he admits

25

Hado u k e n !

Fa c t. I f y o u l i k e g e t t i n g s m a s h e d , w r e c k e d , t r o l l e y e d a n d r at - a r s e d , H a d o u k e n ! a r e a g od s e n d ( L i s t e n t o ‘ M e c h a L o v e ’ , i t ’s t h e u lt i m at e s o u n d t r a c k t o a c r a z y S at u r d ay n i g h t o u t ) . C at c h i n g u p w i t h vocalist James Smith, and get his thoughts on touring and pl aying up north.

Blissed Out

By James Elston

I

t’s not often Soundsphere magazine talks to a band who have had so much success within both the rock and electro-world,

Hadouken! have created world famous remixes for a diverse range of acts, from Klaxons to Sugababes, as well as some of their own bombastic material. These guys have been signed to Ministry of Sound, established their own label, played to hundreds of thousands of people at acclaimed festivals, and are taking the rest of the world on one epic journey.

The band have a modest following almost

Leeds and Reading Festivals this year was an

everywhere, and we wanted to know what

exciting prospect for Britain’s new fave rave

inspires their music now, with the latest album

act. “Leeds is definitely one of our favourite

‘Every Weekend’ released earlier in the year.

festivals of all time. We just remember being

“Inspiration for us comes from all over. We

on the other side of the stage, and going as we

like a lot of film, and we take a lot from the

were kids, it’s an amazing experience.”

internet and clips on YouTube; that obviously inspired our massive ‘People Are Awesome’ viral vid!” The band takes real pride in one major influence being seminal classic 90s rave flick ‘Human Traffic’, a movie with arguably one of the greatest dance soundtracks of all

As a band who spent their earliest years in Leeds, we discuss with James the influence that the area itself has had on the unit’s output.

“Leeds is like a home from home for us now, some of our first gigs were at Joseph’s Well or

And what a place to start. Earlier this year,

time. Despite Hadouken!’s global influence, the

Hadouken! toured Russia in a round trip that

group remain motivated to excite and evoke,

gained ‘em an even larger following. But just

especially regarding their outlook towards

how was braving the ice cold winds and forces

making music. “We aren’t political in any way,

of Moscow? “Pretty damned cold. So, we just

we aim to make music people enjoy, and music

northern crowds can match festival crowds in

ended up drinking quite a lot of vodka” says

we can be proud of.”

terms of reaction to the music!”

Cockpit, so they will always be pretty special to us. We also loved Fibbers and The Duchess in York when we played there. I think some

James. A solution for everything? “Honestly,

26

performing was amazing. We played Moscow

It’s clear that the band have had a hectic

For more information visit:

and St Petersburg, and had a great time.”

2013, and the revelation of Hadouken! playing

www.hadouken.com

Hales to r m

Ta k i n g t i m e o u t f r o m t h e i r U K s u p p o r t t o u r w i t h B u l l e t F or My Va l e n t i n e , w e j u m p e d at t h e c h a n c e t o ta l k t o A r ej ay H a l e , on e h a l f of t h e H a l e si bl i n g s w h o h e l m P e n n s y lva n i a’s H a l e s t o r m .

RIDING THE STORM A

By E VA N G E L I N E S PA C H I S Image by Chris Phelps rejay, drummer extraordinaire and backing vocalist to guitarist and singer Lzzy, exudes enthusiasm and passion.

odds to win the coveted Grammy for Best Hard

Post-tour then, what’s next for Halestorm?

Rock/Metal Performance for their track ‘Love

Well, due to the success of their first covers

Currently in Manchester, the sticksman is

Bites...(So Do I)’, beating their own heroes

EP ‘ReAniMate’, which saw the band thrashing

Lamb Of God, Iron Maiden, Anthrax, Megadeth

their way through fan choices such as Lady

full of praise for metalheads all around the

and Marilyn Manson to the awards podium.

Gaga’s ‘Bad Romance’ and their own personal

UK: “We were just in Glasgow, Scotland and

“The fact that we actually won the Grammy

inspiration tracks, the group have returned

it was absolutely crazy and all the fans were

was really shocking to us” Arejay explains,

to the studio to record a second collection of

completely nuts! We feel kinda lucky ‘cause

“the bands we were up against we have such

tracks with a Halestorm signature twist. “It’s so

we were worried that the Bullet fans who are

huge respect for. We were just the new kids

much fun and so good for us as a band” Arejay

dedicated to them, wouldn’t like us but we got

on the block and we thought they’d just put us

enthuses, “the first covers EP went over so

a great response.”

in to be nice. The fact that we won was pretty

well, we had such a blast making it and we

mind-blowing!” Further awards success has

pretty much just rented a studio for six days

Arejay is extremely complimentary about

even seen Arejay win the Revolver Golden

and went in there with basically ourselves

Manchester

scene,

Gods Award for Best Drummer: “It’s crazy! It’s

and a couple of engineers and just cranked

harbouring fond memories from their previous

like the only award that drummers can get that

it out!” Having fun with other artists’ music

visits: “The second to final show of our last big

I know of so that’s personally a huge victory for

has allowed Arejay and the rest of the band

European tour Taste Of Chaos with Disturbed

me.” Arejay is keen to express his appreciation

to unleash their creativity ready for the writing

and Papa Roach was here, we had our end of

for the support that has got the band to the

of their next full-length record and it seems

tour celebrations in Manchester so we’ve had

dizzying heights of awards glory: “It wouldn’t

even more great things are to come for the US

a good relationship with this city!”

be possible without the people that got us

rockers as we enter the latter part of this year.

here. The team that we work with at the label,

Good times!

and

its

rich

music

Of course, we couldn’t chat to one quarter of

the management, the fans that support us and

Halestorm without talking about that big win.

all you guys that write about us!”

In February this year, Halestorm defied all the

For more information visit: www.halestormrocks.com

27

HIGHER AND HIGHER

A

decade strong and Merthyr Tydfil’s very own The Blackout have come a long way since their debut. The first release, chaotic minialbum ‘The Blackout! The Blackout! The Blackout!’ was full of the energy of youth and what they may have lacked in originality they made up for with gusto. With an average of three singles off of every album and a hard work and tour ethic, this has gained them a middle-weight music scene title and a loyal fan following.

Once upon a time, we’d have firmly put the band in the hardcorescreamo genre, but you could say that they have well and truly shaken that mold. “We’re all older and a little bit more mature,” claims frontman Gavin Butler throughout his interview with us. “Professionally we’ve just gelled more as a band.” The 2011 release of ‘Hope’ saw them take a directional shift into the mainstream arena following in the footprints of other Welsh rockers including Funeral For A Friend and Feeder. While

28

retaining some of the screaming elements they’d started to grow, the music was strung around uplifting, well-written tracks as opposed to the energy filled noise and the spirit of youth, and that’s definitely no bad thing! ‘Ambition Is Critical’ defined them at that time, a full-pelt, loud energy song with their customary Blackout riffs and trademark sing-along choruses with lyrics to emphasise that they were comfortable in the skin they were in; a fine example of this is embedded in the lyrics: “Where we are/what we’ve found/we don’t need to wear your crown.”

The Blackout paved their own path.

START THE PARTY

T

heir writing and recording process differed for ‘Start The Party’ in that they took themselves away from the usual nu-metal and poppunk influences, for Gavin this made it one of his favourite records to write, “We were in a studio in the middle of nowhere with a bunch of old friends making a rock record.” It doesn’t get much better than that. Is

By Louisa Kouzapas Portrait by Markus Maschwitz

this a sign of the band mellowing? We’re not so sure! ‘Start The Party’ is a statement piece for the group, showcasing them as a real party band from the word go. The title track and first single saw the video being filmed blowing their entire budget in Ibiza! It packs a lively missionannouncing punch in its lyrics: “Start the party/call everybody/rock the party/let’s get it started.” This is the anthem that describes where the band is at the moment, “We’ve accepted now that we are this party band all about just enjoying ourselves and having other people enjoy themselves too.” It is easy to make comparisons to the (undoubtedly ace) 90s themed Andrew W.K ‘Party Hard’ era, but this is a band who are not fazed by comparisons, they’ve set their goal to make music they like and enjoy playing.

AMBITION IS CRITICAL

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hen The Blackout started, Gavin thought they’d never get a label let alone make four records. “We always joke that we’re rubbish,”

he laughs. “I’m proud of everything we’ve ever done really. The tracks are stepping stones for us.” It’s clear that the unit has developed over the years but, what do the band put that down to? Gavin thinks that as they’ve matured they’ve been able to let go of their diva-esque sides which in turn makes them better writers. “When it comes to writing songs we’re not too proud to drop certain lead lines or certain vocal melodies if the song isn’t made any better by it. I think we’ve lost our egos!”

The band are looking forward to the rest of a packed 2013 with the main focus being on a few festival dates and touring throughout the autumn months. Festival time is a highlight for the band and Gavin tells us that while Reading was their festival choice as teenagers, Leeds Fest won the fight last year with them as performers. In fact, as a band Leeds is one of their favourite cities to lay waste to, “We always end up out enjoying ourselves a bit too much!” We’ll look forward to having you back this year then boys.

For more information visit: www.theblackout.net

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The Soundspheremag team picks two ace gigs up north for every month left in this year that you should be at. Check these out!

SEPTEMBER CHRIS HELME

[Fruit, Hull - £8] Friday, September 20 www.fruitspace.co.uk

YOUNG KNIVES

[Sound Control, Manchester - £10] Friday, September 27 www.soundcontrolmanchester.co.uk

OCTOBER MADINA LAKE

[The Corporation, Sheffield - £15] Sunday, October 13 www.corporation.org.uk

BILL BAILEY

[The Barbican, York - £25] Thursday, October 31 www.yorkbarbican.co.uk

NOVEMBER GARY NUMAN

[O2 Academy, Sheffield - £25] Monday, November 11 www.o2academysheffield.co.uk

STEREOPHONICS

[First Direct Arena, Leeds - £38] Friday, November 15 www.leeds-arena.com

DECEMBER ELECTRIC SIX

[Fibbers, York - £14] Wednesday, December 4 www.fibbers.co.uk

BLACK SABBATH

[MEN Arena, Manchester - £40] Wednesday, December 18 www.men-arena.com For more gig news and info visit our official website:

w w w. s o u n d s p h e r e m a g . c o m

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