S P I L T
I S S
M I L K
U E #
Z I N E
2
First off, we want to thank all of those that helped made Spilt Milk happen. Issue 1 was a huge accomplishment for everyone involved, and we wouldn’t have been able to do it without all of our supporters. Issue 2 was even more fun to put together, and we hope our readers enjoy it as much as we did. There were lots of ups and downs in creating this magazine. But, with any creative endeavor, we met the obstacles and tackled them in the best ways we could. It came out stronger than we imagined, and we have learned so much along the way. We hope that the changes we’ve made across the issues can be seen as steps forward in the right direction, and we will continue to evolve in order to give our readers what they thrive on - the best music around. . We’re proud to be a fresh fanzine, and we’re only interested in giving you an honest, insightful, in-your-face depiction of the bands who we believe to be keeping the spirit of rock ‘n’ roll alive and kicking. Alicia Carpernter (Editor)
W
e caught up with Carl Barât and The Jackals before their set at Camden Rocks in June. We spoke to them about their new EP, Harder They Fall, and asked them about their views on the music scene and how we can lift the laurels back onto its weary head. Is there a specific moment or period of time in which you felt the chemistry of The Jackals progressing? Carl: When we’d spent a significant amount of time hanging out and writing. When I picked the final band members my choices were based more on balancing personalities than musical ability. This worked out well I reckon. Not saying they can’t play well obviously!
Jay: This time around, things seem more accomplished and complete and it really feels like we’re a band in our own right. I feel like we’ve gone through the initiation process, playing the first few shows was like a bit of a novelty to us – now that we’ve been going to Russia and Europe and playing big shows, it feels like we’re in a decent stead. Adam: We know when to leave each other alone! We know what makes each other tick. Jay: This tour for me has been a big step forward, I’m feeling like this is us now. Carl, how does playing with The Jackals differ from playing with The Libertines or with Dirty Pretty Things?
“This tour for me has been a big step forward, I’m feeling like this is us now.” - Jay
Carl: Chemistry determines everything a band produces and this changes drastically with each band. It’s like parents and children in a way… So different bands, different chemistry. The thing about playing gigs is that you’re on a grassroots level with raw passion and emotion – that connection. How does the writing process of your debut album, Let It Reign, differ from your most recent release, Harder They Fall?
Carl: ‘Burning Cars’ because it’s just a bad man tune. I think that’s one of the ones that brings us all together as a band – it’s kind of written around our own experiences and it’s just really good to play. It’s unforgivingly direct and poetic, strong and light. I should review our work more often! Not saying that ‘Sister’ isn’t good as well! Jay: I’d say that ‘Doctor Doctor’ has come into its own for me since we’ve been playing it live. ‘Doctor Doctor’ is my favourite one to play in the
Jay: On the first album, Carl had a lot of those songs in mind and pretty much sussed out - bar a couple - and when that album was being completed we were only just getting to know each other, so it was pretty new to us as well. Whereas with this one, we’ve been writing and rehearsing together, so we’ve been finding out about each other’s tastes, and we’ve found a happy medium between all of set and I always look forward those influences. With Harder to that. I love the recording They Fall it felt a lot easier. as well – it came into its own while we were writing and reBilly: The first record was pret- cording it. ty much finished before Carl formed the band. We were inBilly: It’s by far the heaviest volved in the recording of Let It tune on the EP. It’s very fun Reign, though not so much the to play. My favourite lyric has song writing - bar ‘The Gears’. to be from ‘Cracks’ – ‘Only Harder They Fall differs masbetween the cracks can I look sively. Each song is a collective up at the sky, they throw me effort, the whole band. The down the rope the one for me two year gap between both reto tie’. It’s about feeling disillucords gave us time to develop sioned, alone, angry. our song writing and to build on the chemistry we have. What’s a favourite lyric of yours – perhaps your own or Do you have any favourites from someone else? from the new EP?
Carl: Mine – ‘Of all the friends you’ve not yet met, well some would die for you I’ll bet, so hold on for tomorrow…’ – ever faithful and optimistic! A lyric that’s not mine would have to be ‘Cos the songbirds don’t do singing on pavements, no sweet melody the sound of spit, so we spat Orbit, spoke of last hope, now toot what you toke man, choke on it’. Jamie T, ever the realist! Billy: It’s a hard question. I’m listening to Townes Van Zandt right now. He was a country singer who wrote heroically sad songs and spent a lot of his life touring dive bars. Check out Live at the Old Quarter, Houston, Texas. It’s beautiful. ‘Legs to walk and thoughts to fly, eyes to laugh and lips to cry, a restless tongue to classify, all born to grow and grown to die’. Adam: ‘I talk to God in a phone box on my way home’. Jay: There’s one about a politician: ‘He’s got a mind like a sewer and a heart like a fridge, he stands to be insulted and he’s paid the privilege’, by Elvis Costello. What’s the inspiration behind ‘Sister’? Carl: Billy started that one – it’s about his brother! [Laughter] Billy: It’s a bit cryptic – it’s about a lot of things. Life’s everyday struggles… We wrote the music as a group, in one go actually. Carl and I wrote the lyrics and they focus on
mental health. It’s semi-autobiographical and follows the same theme of ‘Cracks’, but also focuses on other issues. There’s definitely a theme within the whole EP. What are your thoughts on current music? Jay: I don’t think you get the genres so much anymore. When I was growing up it was all about Britpop but it isn’t marketed like that now. There’s so much out there and there’s so much new experimental stuff too, it feels harder for guitar bands to break through. When we do things like Camden Rocks or Margate Wonderland you see how much writing there is and it’s weird how it seems that so few of them really get to be recognised as a name even though there’s so much great guitar music out there. Billy: There’s no subculture. There’s no unified dominant force in music at the moment,
I feel. Everyone’s either trying too hard or not trying hard enough! Carl: Yeah, there’s no movements. It’s hard for any band to gather the momentum to get a movement. They can’t control the industry. It’s not like the old days where you could just build a scene – Spotify is the new radio and so you have to put a plate to them really. It’s to do with the fact that music’s on the Internet now – it’s like who can get their music into the most ear holes? [Laughter] Jay: Also, it’s so easy for people to make music now; obviously with Apple Mac you basically have a studio. There’s a lot of focus on producers at the moment and they’re breaking through so that’s why electronic musicians can sort of make “bedroom bangers”. What do you think needs to happen before a movement can materialise?
Carl: Get rid of the Internet! I don’t know! Billy: Unify. Be together. Look after each other. Be unique and don’t worry too much about other people’s negative views. Jay: Yeah, there’s an energy about guitar music that you just don’t get from going to see a DJ or an electronic act necessarily. There’s a lot of wires being crossed between live music and sort of sampling and stuff though. Do you think that the political climate is going to create something well needed in music today? Adam: Wasn’t it Corbyn who said that British music brings in two billion a year for our economy? And he really wants to help the music scene.
“Whilst The Dublin Castle, The Good Mixer and The Hawley Arms still stand, independently, Camden shall not fall” - Carl
Yeah! He got up on stage and said that he wanted to reinvigorate the music scene! It’s just a question of whether people get up off their arses and vote for him. I know a lot of people who didn’t even register to vote! Carl: Do you?! Adam: Shame on them! Do you think Corbyn could really help musicians? Carl: By keeping the fucking Tories out he could do! [Laughter] The Tories just carry on with their fucking endless plans until there’s nothing left! That’s all they’ve ever done. They do the same shit except differently. Don’t they say if you say “strong and stable” three times in a row, Theresa May will turn up in your mirror! [Laughter]
How do you situate yourselves in the music scene, if at all? Carl: I’d say we’re pretty grass roots. ‘Ardworking! Jay: I think there’s a lot of pride in the fact that we’ve done it off of our own backs without like a record company on board. Billy: I’ve always kind of considered us as the outsiders really. I wear that with pride. We’re not really part of any scene. I find most half decent bands these days are the same. Who are your main influences, musically or not? Billy: I think Dolly Parton for Jay. [Laughter]
I take influence from a lot of writers. A friend of mine, Jon Perrins, is a massive inspiration. He’s one of the best songwriters I know. He’s in a band called Strays. They’re London-based so keep your eyes peeled! Jay: Recently, for me, Elvis Costello, and pretty much anything that Nick Lowe has written. Billy: Dolly Parton’s great by the way. I’ve been listening to a great band recently called Television Personalities. I’m mildly obsessed with them. The singer’s a bloke called Daniel Treacy, a Chelsea boy. They were named by John Peel because they gave him an unnamed demo and he played it on his show and they had put Bruce Forsyth and all of these personalities on the case, just to take the mick, and obviously John being John called out, “That’s ‘14th Floor’ by… um Television Personalities” and that was that. Wow, I never knew that! I love that song, ‘I Know Where Syd Barrett Lives’. Billy: Yeah, they’re absolute legends. Carl: I used to go around to where Syd Barrett lived, there was a rumour that he used to throw eggs out of the window in a wet suit! We used to walk around there! I feel really bad now because he wasn’t well was he? I know that George Orwell inspired one of your music videos, ‘A Storm is Coming’. Do you think that dystopian literature has had more of an impact on music because of the way the world is at the moment? Carl: Yeah, it’s inspired a lot by Kafka as well. I don’t know – you could
call it prophetic in a sense. Aldous Huxley who wrote Brave New World wrote that he doubts very much that the world will turn out like Orwell’s 1984 because people won’t accept the base. Brave New World’s about technology and people idling giving up, and the government know exactly where you are, when you’re there, where you’re standing, because you’re viewed through pictures and videos, so it’s quite strange because it’s very similar to how the world is today. Sorry I’m going along here! But I think definitely that’s what’s going on. It’s very inspiring to write about.
“There was a rumour that he used to throw eggs out of the window in a wet suit!”Carl
Billy: The last thing I read was The Yellow Wallpaper by Charlotte Perkins-Gilman. She was one of the first utopian feminists – a writer, activist and poet. The story is autobiographical and focuses on postpartum psychosis. It terrified me! But it’s beautifully written. I’ve also been reading Flannery O’Connor. I’m slightly obsessed with one of her short stories, The River. How do you think the music scene in Camden has changed over the years? Do you agree with some people that it is not the place it once was? Carl: It certainly isn’t the place it used to be but it retains its spirit through the veneer of gentrification. There are many high street brands taking the place of old spit and sawdust establishments, but whilst The Dublin Castle, The Good Mixer and The Hawley Arms still stand, independently, (to name but a few) Camden shall not fall. But if Camden is no longer the definitive place to be, where is? Billy: My underpants. [Laughter] Interview by Alicia Carpenter
GET
WITH
IT!
Blinding disordered rock band BREED are a killer four piece and are the second generation of post punk rockers, Jackals Rose. Live, they’re full of heavy grit with intense brooding edge, and Jake’s voice oozes with charisma. There’s this immense force the band have, both on record with tracks like ‘Starman’ and ‘Get With It’, and on stage. With harsh rock spunk, their music has a messy, dirty edge, packed with raw rock ’n’ roll purity. You can catch them at a host of festivals this summer, and at This Feeling gigs. By Sahera Walker
MUSIC IS WHAT WE BELIVE IN ‘485c’. To most people outside of London this number/letter sequence might conjure images of the rich, red pantone colour that is famously used for the city’s annoyingly cramped Central Line. But to anyone lucky enough to be living it in the capital at the moment, the name most commonly refers to one of the hottest bands that are refusing to let London’s flame fizzle out. 485c is fronted by Adam Hume, a fascinating performer with a careening swagger on stage that is contrasted by a jagged vulnerability, which harkens back to Brett Anderson’s glory days. However, Hume carries himself with an air of assuredness that confirms him as a frontman in his own right. His vocals effortlessly dovetail into the charismatic melodies that Dom Watson and Rory McGowan create with their tinkling guitar sounds, while Sam Watkins (bass) and Lucas Hunt (drums) deliver the low, loud, punching heart beat that invigorates their songs with the energy needed to create something vital. 485c are wonderfully eccentric and uncompromising, which is a combination that London’s music scene has always thrived on. ‘Music is what we believe in’. With this philosophy, 485c’s attitude mirrors the passionate colour that is their namesake. By Alicia Carpenter
LEAVE
IT
ALONE
It may throw you at first as these lads from Bedfordshire walk on stage wearing tweed jackets and bow ties. Don’t be fooled The Scruff combine guitar riffs reminiscent of the Britpop era with vocals not too dissimilar from that of Carl Barât in the good old days with a beautifully authentic Britishness to them. Building an ever-growing momentum on the music scene supporting international acts such as the DMA’s, it’s easy to see a future for this band. Their track ‘Leave It Alone’ boasts their classic high energy, pure rock sound, one to throw your arms around your mates and shout along to. By Joe Sansom
YOU’RE A SINNER It’s not very often that a B-side is the focus of a review, but SAP’s track ‘Paint Me Red All Over’ does far more than support their debut release ‘Feel It’. In fact, it encapsulates them as a band. With a powerful drive, explorative instrumentals and the jab of a line, ‘You’re a sinner’, to smash it all up, it’s no surprise that SAP’s music makes you descend into chaos. With nods to the American grunge sound and laden with that irresistible punk spirit, SAP have pure attitude - something few bands out there manage to deliver. By Alicia Carpenter
WE
HERE
COME
THE
BOYS
It’s easy to understand the hype that surrounds Rosko right now. With influences spanning from punk to reggae, the genre of this Essex-born four piece is difficult to pin down. One thing is for sure though, these boys’ unique style and wicked energy sets them apart from the crowd. Cocksure and proud, Rosko are making waves and they know it. Keep your eyes peeled for exciting new track releases coming your way. Make sure you check out their latest single ‘The Boys’ for a mad mix of indie vibes, impressive vocal range, and Jamie T-style rap that’ll leave you fumbling for that replay button. “You might not agree with the boys, but you wanna be seen with the boys!” By Lilly Greenwood
THE
RATS
Mind blowing riffs, riot inducing songs and bursting at the seams with attitude… what more can you want from a punk band? Strange Bones are possibly our generation’s saviours. Their punk-influenced, politically-driven lyrics are delivered with such confidence and angst that it’s difficult not to believe what they are telling you. As the band hammer out every live set as hard as the last, the audience can only hope to reflect the onstage chaos: picture seas of crowd surfing bodies and brutal mosh pits. They really are a must-see band. By Joe Sansom
WAIT A HOT MINUTE BRAVE NEW WORLD
WHAT
IS
MINE?
Raw, messy… Blinding. The aptly named, gripping band, The Blinders, are a serious force on the current music scene. Happy to take on political commentaries and doing so with ease, their gritty sound and energising tracks leave you wound up in the best way. Taking (I believe) justified digs at society, their new track, ‘A Brave New World’, is full to the brim with explosive riffs, and is brutally honest with the message that it seeks to deliver. A brilliantly crafted track and one that I can’t wait to hear live.
Bristolian five piece, The Shimmer Band, are dominating the suburban indie scene with their euphoric, flamboyant style. We have innovative bands like Yak and Black Honey to thank for the bursts of energy that indie music has been experiencing in recent years, and The Shimmer Band continue to excite our senses. The band merges psych rock with an uplifting groove; the track ‘What Is Mine?’ demonstrates this. The song possesses an electronic depth and a pulsating undertone. Above this is the fuzzy vocal of Tom Newman - his voice absorbs into the sound. The rest of their tracks like ‘Shoot Me (Baby)’ and ‘Freedom’ follow this experimental pattern. The band is lined up for Truck Festival later this year and their By Joe Sansom cutting edge talent will explode from such a platform. By Maisie Amos
From the opening seconds of their single ‘Hot Minute’, The Americas’ sound is dripping with 70’s glam rock ‘n’ roll swagger reminiscent of bands like The Rolling Stones, Ziggy era Bowie and even The Kinks. Bright guitars, pounding drums and a soaring harmonica hook make for an energetic party of a track. The band’s other single, ‘Tenth Day of May’, is a pulsing, road trip anthem perfect for those summer days. Part of the emerging London scene, the band have been touring up and down the country and working with Jack Rocks promotion as a new wave of young British talent set to make their mark on the industry. By James Davidson
SPILT MILK SOUNDTRACK
Picnic in the park with:
P A V E S
We caught up with the lovely Paves on a sunny day at Camden’s Primrose Hill to have a chat following their appearance at the Isle of Wight festival. You could say we had our own mini-festival on the itchy green grass with a few cans and a few laughs‌
So you just got back from the Isle of
year which was fantastic. Sound City
a scene but it’s not necessarily about
Wight Festival. Tell us about it! Who
as well. You know what it’s obviously
getting signed. At least that’s what
were your favourite bands?
great to see the band taking off but
we’ve found.
it’s also so nice to see the promoters Luke: Actually surprisingly, I’m not that
and everyone that was there in the
You’ve been working with This Feel-
much into Hip-Hop, but of the bigger
beginning get big as well. Alan from
ing. Which of the other bands work-
bands that were there I was most im-
Cherry Cola is doing great for himself...
ing with them would you be really
pressed with Run DMC. I thought they
Obviously we work hard but there’s a
happy to see make it big?
were amazing! Of the smaller bands,
whole scene behind us as well working
two that really shone out for me - ob-
incredibly hard and it’s fantastic when
Luke: To be fair we could name a few!
viously there were loads - were The
they get recognition as well.
I think most of the bands with This
Americas and The Surrenders. [Everyone in agreement]
Mike, we saw a video of you scaling the
Feeling are of a really good calibre! In Have you got a favourite place to
terms of their music and what they’re
play? The crowds are notoriously
saying.
tough in London; how do you find it?
stage lights! You looked like a spider monkey. Please explain…
Mike: Like if you look up This Feeling, Mike: Well London is good for us be-
just any of those! Any of those bands
cause we’re from London so they know
are awesome.
Mike: Hmm yeah I was going to try and
us. Brighton and Manchester were real-
climb onto the top of the lighting rig,
ly good.
and as I was trying to find my feet the stage tech came and pulled me down.
Jonns really knows what he’s doing. Why do you think that is?
Apparently they’d had a few bands climbing about the stage.
Luke: And it’s not a coincidence. Mikey
He’s a great promoter and he takes care of the music. If you work hard, he’ll
Perry: I don’t know, I think it is down to
work hard.
the crowds. Luke: Nobody got as high as that fella over there though!
By Lilly Greenwood Mike: Plus they’ve got good music scenes over there so they’re very sup-
What’s your favourite festival that
portive over there.
you’ve played so far? And what about the scene in London, Tom: Well last year we did Isle of Wight,
is it as good as they say do you think?
and Leeds, we did loads. I don’t think we can announce all of ours this year
Perry: I think the scene is changing
because no one knows yet!
here a bit. You’ll play a lot of gigs here but the crowds can be hit and miss.
Luke: We did Margate Wonderland this
You can make a band here, and make
With: In Conversation
SISTERAY
After yet another heart-pumping, adrenaline-fueled gig at Camden Rocks, I was eager to chat to one of the most notable up-and-coming bands of the moment, Sisteray. We meet outside a recording studio in Hackney which they use regularly. They all emerge beaming and chatting about a strong rehearsal - they’re on top form. The boys lead the way to their favourite local pub where we get the beers in and start recording!
We have the election coming up tomorrow. I’ve got to ask you about it! But first, we all know you get a lot of your inspiration from politics. What else do you draw upon? Dan: It’s kind of like, from the outside looking in really. People think we’re a very political band but it’s not like we’re standing on a soap box preaching; we’re kind of taking notes from the outside like watching what’s happening to our friends and family and drawing from that. You are very vocal about your political opinions though, in your lyrics and on social media. What do you hope to achieve from that? Michael: It’s just about getting people to vote
really. For Labour another party.
or…
Dan: That’s not why we write songs though is it? Michael: Yeah, but it’s one of the reasons why we’re vocal about it. Niall: I think that, if you’re writing about what you see then it’s not necessarily political but it’s because of politics that it’s like that. It’s whatever is directly affecting your surroundings. Dan: We don’t want to dictate to people either. It’s not a case of that; it’s just about getting people engaged. I speak to so many peoyoung especially ple, people that go, “Oh I don’t care about politics it doesn’t really affect me”. Then they’re like, “Oh the street lights aren’t working”, or, “Oh the bins haven’t been taken out”, and they don’t realise that everything they do is related to politics, and if they’re not actively engaged it’s their own lives that they’re not shit When influencing. hits the fan they start complaining. What happens if we do land a stable government? How is that going to affect your lyricism? Michael: Ah, Job done!
we
quit.
or Italy! Michael: Yeah, whichever place needs us next. Niall: I think about the whole political thing though, in our last EP there was only one political song on it so I think we’ve been put into that bracket but I wouldn’t say that it defines the band. What about Dan throwing that Jeremy Corbyn T-shirt into the crowd? Dan: Well that got stolen anyway. What happened to it? Dan: Well I don’t want to mention any names but I’ve been told that... Niall: A Tory took it and we never saw it again. Dan: Yeah, a Tory ripped it up and burnt it. Ha! No, I threw it into the crowd and I’ve been told that a fan caught it, SNIFFED it and they disappeared with it never to be seen again. I quite liked that T-shirt.. It was the first time I’d ever worn it. I do think we have a lot of mad fans. So with the election coming up tomorrow, how do you expect this will affect the music scene in general?
Dan: I was saying this earlier in rehearsal. Marco: Well the band will There’s only one party probably move to Spain that’s put music venues
in their manifesto and that’s the Labour party. It’s something that we’ve been preaching for a while. We’ve had that song ‘Gentrification’ and that came about because last year we played Camden Rocks at the Hawley Arms; we were sitting outside having a fag and we could see what used to be the music studios where the band was formed, Scar Studios. Niall mentions it when we play live now, cause it’s just a construction site now! There are so many music venues and recording studios being shut down. Our current one has upped their rent by five grand a year. The EU used to subsidise our music venues 30% so where are we going to get that funding from now? The Tories do not give a shit about the arts. Let’s face it. Look at them. Marco: Nor the NHS, the police, nothing… Dan: Now for all of Europe’s flaws, the one thing they were really good at is protecting arts and culture. The Tories just aren’t going to do that. It’s important for young people, especially those in bands or into live music, to get out and vote for that reason. You have a new EP out! Tell us about it. Dan: We’ve just had 15 Minutes out. That actually got to number 22 in the iTunes charts!
Congratulations! Dan: Yeah it was cool, we weren’t even expecting it to chart because it was our first release with our new record. It’s exactly 15 minutes long and it’s born from the Andy Warhol quote “everyone will be world famous for 15 minutes”. celebrity about It’s culture. Everyone’s in it for their 15 minutes of fame and they’ll say whatever to get it. Think about like Katie Hopkins. She’s had a bit too much I reckon! Dan: Yeah hopefully she gets cut down soon. So basically this is our 15 minutes; we recorded it right to the second. Great! Have you got anything else we can look forward to? Michael: We’re working on new songs now actually. Just in rehearsal. We’re thinking near the end of the summer, we’ve got a few ideas for new releases… Still a secret is it? Niall: Yeah - a secret where we’re going to get the money from! [Laughter] Tell us about the Guerilla gigs… How did they start? Why did you start them? Niall: It was part of
the 15 Minute thing. Our manager had the idea to play it in its entirety because it was literally 15 minutes. Not a lot of places would give you a normal slot to do it in. They’d say like, you can be a bit of a secret guest and we literally just pop up for 15 minutes. It went from there really. Do you think with more venues shutting down now it encourages other bands to do that sort of thing too? Niall: Yeah I think so. Like if bigger bands started doing short sets here and there it could prop up those venues for another year or something. Dan: The Libertines do it. Niall: Yeah exactly. The Vaccines too. Dan: I love it, it creates a lot of hype and excitement. We’ve had a lot of people turn up for them as well on a day’s notice. Are there any underground bands at the moment that you’d really like to see make it? Marco: Oh yeah… there’s this one I heard about… Sisteray I think. [Laughter] Interview by Lilly Greenwood
THE BLINDERS
A W Photography
BLACKWATERS
A W Photography
Flare Voyant merge a myriad of influences together to generate a modernized take on their beloved rock ‘n’ roll. Such ‘flarevoyancy’ involves taking up the torch to illuminate the prodigious sounds of the late 60’s and early 70’s. Instead of casting us backwards, Flare Voyant are one of those bands that show the infinite possibilities of that rock ‘n’ roll that just won’t go. It’s that rock ‘n’ roll that continues to make us shiver ‘n’ shake whenever it hits our eardrums, and this band stand for the fact that it’s still as vital today as it once was. After one of the band’s recent gigs, I caught up with guitarist, Rodrigo Bourganos. A few tunes and a few drinks later, I ask for some Oasis. Rod begins to express some distaste for the English band that many hold dear, and a heated discussion spurs. Perhaps he doesn’t hold the same love Britons do for Oasis because he is Brazilian? He fervently sets down his adoration for ‘the glorious British sounds of the late
60’s and early 70’s’, and wonders aloud to me whether Flare Voyant might be considered as set-apart from the current ‘guitar band’ scene due to their wish to emulate the sounds from this era. Instead of taking influence from British punk, Britpop, or the Gallaghers, as many seem to be doing, Rod expresses how he is more inspired by the work
of the greats like Stevie Winwood or Eric Clapton. The thing that worried me the most was not that he believed they might be viewed as outsiders due to their distaste for Britpop, but because ‘there are many foreigners in the band’. This remark particularly disheartened me because - especially in a post-Brexit London - we need to hold onto the
fact that music lovers have always salvaged communities that aren’t determined by nationality or race. Although few bands from foreign origin dominate London’s music scene, it’s clear that gig-goers are enamoured by Flare Voyant and the music that they’ve brought to our ears. With a loyal following, the band feel welcomed by the crowds, but have a sense that they’re being overlooked by gig promoters in the city, and believe that it’s ultimately the responsibilities of the ‘gatekeepers’ to bring audiences a diverse selection of bands. London thrives on the intricacies of culture and has always been a hub that welcomes with open arms – especially within the musical realm. With the guitars, drums, bass and vocals firing on all cylinders, Flare Voyant bring all elements to the centre in their playing and the tight composition comes from laborious achievements throughout their musical careers. They each bring something to the table, whether it
be studying with an Indian Guru, or borrowing sheets from a Parisian poetry book. Their strong alliance with culture translates beautifully into their sound, and makes them an inclusive rather than exclusive band. There’s a certain vitality in Rod’s guitar playing. He told me, ‘My approach to the instrument has to do with my personal path as a musician. I used to perform as Jimmy Page in a Led Zeppelin tribute band for years, with a focus on the 1972 and 1973 tours’. This made a huge difference on the way he plays, he says, as it caused him to ‘decode Page’s tone dynamics through the natural saturation’ and expresses a particular interest in how ‘the guitar can behave rhythmically along with the drums’. This explains the
dense crossfire between the instruments in Flare Voyant’s musical arrangements. Rod explains how their tracks are often ‘melodic rather than harmonic’, and pins this down to his love for the sitar, which doesn’t use chords as it is a solo instrument. I asked Flare Voyant, if they could bring anything to London’s music scene right now, what would it be? Their immediate answers were very similar. Everyone said things like ‘money’ and ‘Ahmet Ertegün’ (the co-founder of Atlantic Records, a crucial catalyst in the development of R ‘n’ B, soul and rock). Rod also said that the London scene ‘could try to dig deeper inside the “British culture bag”, as there are many rich elements from the Celtic tradition, the Raj, British blues
and folk, progressive rock and lots of things that seem ignored sometimes, apart from what some neo-psychedelic bands are doing. Maybe one of the reasons for the decline of the “guitar band” is that it refuses to develop – 50 years ago bands were using the format more interestingly than now and that might happen because few people try to learn from what the electric guitar has achieved through the decades’. Flare Voyant are taking inspiration from an iconic musical era and using it to rejuvenate the modern guitar band. Far from outsiders, they stand as representatives for the many in London who are all here for the same reason: their passion for music. By Alicia Carpenter
R O F E L B U TRO . S D A E H N I SK
What do you think when you see a young lad walking down the street, head shaved, donning a polo shirt and Dr Martens boots? Once a statement of working class multicultural pride, the skinhead is now thought of as a sign of intolerance, hatred and violence. Originally known as ‘peanuts’, the skinheads were conceived through the integration of Jamaican immigrants into London’s council estates. They acted against the casual racist mentalities within the country at the time. But the emergence of the skinhead trend was a result of the British working class youth who looked to members of their community in an attempt to gain a more ‘manly’ identity, ready for their assent into industrial work to earn money to bring home to their families. Through mu-
sic such as the 80’s Ska grooves, the different cultures were brought together and the skinhead cult was born. Since then, each new generation has brought their own frustrations and ideologies to the movement. Through the efforts of far-right political parties like the National Front, disenfranchised kids with little prospects were whisked away to what they believed to be activity retreats with their mates, only to find themselves locked in National Front conferences. Although many rejected the ideas, literature such as Richard Allen’s novel ‘Skinhead’ and political propaganda were enough to reshape a significant number of disillusioned minds into something far uglier. Skinheads began to be depicted and thought of either as aggressive thugs or Blood and Honour Nazis. A once uniting force became confused and contradictory.
With the growing discontent, a section of skinheads became a destructive force, with violence and intolerance at its heart. The resulting disconnect between the music that was once the soundtrack to the skinhead revolution and the communities that had adopted it resulted in violence at gigs becoming commonplace. The skinhead counterculture began to regularly exhibit fights between crowds, clubs being torn apart, and, with a media movement that enjoyed nothing more than pouring fuel on the flames, people of the country were led to view all skinheads, and therefore the working class, as aggressive, fascist yobs. Although many of the original skinheads feel that the symbolic style has been damaged beyond repair, the counterculture limps on today and a resurgence in the number of shaved heads and Dr Martens can be seen across the country. It seems that many of these new generation skinheads have gone back to the roots and found paradise in the music and the foundations of hard work and multiculturalism. Could this be related to the political landscape we are experiencing today, where politicians like Jeremy Corbyn preach compassion and look to rid the working class of misplaced shame, making the youth feel proud again of where they are from? Or could it merely be another turn in the cyclical wheel of fashion with the Internet making it easier for us to dip our toe into all the subcultures England has produced, picking and choosing the style elements we like with very little thought of what it has symbolised historically? Only time will tell. By Joe Sansom
PAVE’s TIKZ WHITAKER TELLS US WHICH SONGS MADE HIM. AC/DC - Back in Black As a lead guitar player I tend to gravitate towards a lot of hard rock bands, particularly ones whose riffs and solos are as integral to the songs as the choruses. I’m pretty sure this tune was the reason I picked up the guitar. No frills rock ‘n’ roll, simple but devastatingly effective. ld O’ Mine Guns n’ Roses - Sweet Chi , Guns k up rock ‘n’ roll guitar pic to me ed If AC/DC inspir d. They had ban l rol ‘n’ k roc a in n’ Roses inspired me to be look... sound, the attitude, the it all - the tunes, the d guilea ul tef masterclass in tas Sweet Child O’ Mine is a solo. ic mat dra the to f rif n mai tar playing from the iconic
Hanoi Rocks - Until I Get You A severely underrated band from Finland, their influences are obvious but their sound isn’t. I like this particular track for the moody vibe and unorthodox guitar work. Shocking Blue - Send Me a Postcard A cool little number from the sixties, her voice is fucking wicked, definitely worth a listen.
Kasabian - Cutt Off A truly unique sound paired with great songwriting, you can’t go wrong. I particularly like the rap-esque chorus.
FROM
THE
ASHES
Emerging from East London, False Heads are a band who describe their music as ‘crack rock punk’ and from the clattering guitars and snarling Strummer-esque vocals, it’s easy to see why. Comprised of three young lads, Luke, Jake and Barney, the band showcase their love of old school punk by greats like The Clash, The Buzzcocks and Ramones whilst giving it a more thrashing modern sound. ‘Gutter Press’, the band’s debut EP released in early 2017, showcases the band’s raw sound from the full throttle chaos of ‘Weigh In’ to the anthemic ‘Thick Skin’. False Heads are part of an up and coming London scene full of young and hungry bands and 2017 has seen them tour all over the country working with Jack Rocks and playing festivals like Dot to Dot and Isle of Wight. Oh, and when Iggy Pop gives your band a shout out on the radio, you must be good. By James Davidson
FUCK
YEAH,
FUCK
YEAH!
BlackWaters are a lairy lot from Guilford and they are modernising the sound of post punk. This band can’t be described as anything else other than bawdy, chaotic and raw. Their sound is directly derived from the roots of punk but they are somehow more polished. The track ‘Down’ is a prime example of this - the melody is very controlled and showcases the lead singer, Max’s, dominance. He doesn’t sing practically: he has a pronounced colloquial tone which, rather than distracts, compliments his vocal talents. Another track that catches attention, primarily due to the title is ‘Fuck Yeah’. Again the Rotten-esque vocal style of Max doesn’t hold back. There is still a melodic undertone, but it doesn’t sound over-rehearsed which highlights their organic style. It is evident that they don’t want to merely replicate greats such as the Sex Pistols, but what they have managed to do is fuse an independent rock sound with the more raucous elements of punk, which adds to their excitement. by Maisie Amos
Page No: 2 STATEMENT (continued) in the matter of: Grafitti & Drunk and Disorder;y Name: Jonny Webber (The Garage Flowers) 5. We were offered a gig at Plymouth University so we made our way down from Bristol during rush hour with my car overheating several times. we made it to soundcheck just in time and as we were in the car for a long time we had to keep a steady flow of booze down are necks to keep us entertained, so by the time we got there we were all half cut. Expecting some kind of hero’s welcome, we were surprised to see that it was a half empty SU with them using their fresher students to do the sound. The result was a terrible sounding gig, with Joe abusing the monitors as well as the soundman and audience members on several occassions. Unimpressed with the gig, the band decided to take full advantage of the cheap SU fresher prices before heading off to check out the local scene. 6. On the way out I thought it would be a good send off to graffiti the band name around the nearby campus roads and buildings before heading into the night. In the first pub, we hooked up with some girls who took us to a student party. Our dreams of having a girls’ warm bed for the night were crushed when the police raided the party and the crowd dispersed. 7. With nowhere to go we walked around in desperation looking for a landmark until we walked past a house with a caravan on it’s drive. as we had nothing better, I thought “might as well give it a go” and tried the handle, and to our surprise it was open. We were awoken by the owners voice just inches from the door. Thinking we were gonna be busted any minute, we tried to make our lame excuses, but luckily after what seemed like forever, he went back to his house at which point we burst out the door and legged it. Completely forgetting about the previous night’s antics we strolled back onto campus like conquering heroes, only to be brought straight back to reality when we saw the car, surrounded by graffitti and campus security peering in the windows. Still drunk from the night before, i thought it would be a good idea to take a break before they could catch us, so we darted back into the car and started the engine and were just about to drive off when there was a loud bang on the window. At this point one of the campus security guards politely informed me that if I tried to drive off then the police would come and arrest me for DUI. After denying that I had anything to do with the graffitti on the surrounding buildings (I hardly blended into the crowd wearing all white with trilby hat) they suggested i go away for a few hours and sober up. 8. This was all great advice, however the only decent place open at that time in the morning was wetherspoons who as we all know serve alcohol from 8 in the morning. After getting the rest of the band together and realising I had no choice but to turn myself in, we headed back to campus together where I admitted all charges and was taken away by the police. Luckily the officer was a liverpool fan like me, and thought the graffitti was hilarious along with the rest of the security who recommened we sell the story to the paper. We tried, but it was possibly a bit much for them to print so we headed back to Bristol just in time for match of the day to start.
J Webber
T H E O N E S TO W ATC H By Joe Sansom
I’d been meaning to catch this lot playing live for a couple of weeks before I finally managed to clear my schedule enough to get down to Brick Lane where they were playing. Mice on Mars are bunch of Northern lads new to the city, and hitting it with everything they’ve got. It’s not very often I get hugely excited about the potential of a new band, but these had me dancing (or something as close to that as I can manage) from the first song. With a crowd mainly made up of their friends, these really are a hidden gem and I’m confident that their modernisation of vintage ska sounds, passionate performances and raw drive will be the making of them. With a saxophone giving it that authentic 60’s feel and heavy bass lines ripping through the room, heavy energetic drums and powerful vocals they really were a spectacle to watch. Great style, great songs and a great performance were let down only
by the venue’s sound system and the sound engineer’s inability to turn the vocals up. You’ll want to see these repeatedly, and be the first to tell your friends about them.
Where to begin with this lot? A band of brothers with big hair and bigger attitudes. With no songs yet released officially you’ll have to catch The Skinner Brothers at one of their gigs to hear their combination of ska and punk sounds accompanied by Mike skinner-esque vocals. ‘Chelsea Boy’, their punk influenced anthem never fails to get the crowd shouting and jumping along, where ‘You’re Only You’ shows a more sentimental side to this raucous bunch. Gritty, witty and carefully crafted songs, which are probably more suited to listening to in your bedroom with the volume turned up than in a live setting. That said, The Skinners have a growing fan base that includes none-other than Carl Barât himself. Maybe you’ve seen them on The Jackals new music videos? Well if not, you’ll be able to catch them up in Scotland supporting The Libertines over the next few months.
T S PI I LL K M I N E Z
ISSU E #2
EDITOR Alicia Carpenter
DESIGN Joe Sansom
Words By:
Photography By:
Alicia Carpenter Joe Sansom James Davidson Sahera Walker Lilly Greenwood Maisie Amos
GOD
BLESS
Kimberly Bayliss Sal Gigjunkie Daniel Quesada Jeff Moh Dawn Mander Rhona Murphey Jam Pond Photography A W Photograhy
THE
BANDS
CARL BARAT AND THE JACKALS | FALSE HEADS | BLACKWATERS | SAP | THE SHIMMER BAND | THE AMERICAS | BREED | ROSKO | 485C | THE SCRUFF | PAVES | SISTERAY | THE GARAGE FLOWERS | FLARE VOYANT | MICE ON MARS | THE SKINNER BROTHERS | THE BLINDERS | STRANGE BONES
W W W . S P I L T M I L K Z I N E . C O M
WWW.SPILTMILKZINE.COM