Undertone Issue 3

Undertone March/April 2013 Issue 3

IMAGE: FLICKR: ErinLangNorris/YellowCanoe

Image: Flickr: Fey Ilyas

{Take your pick} news Welcome Back HMV Flo releases new tune for the Great Gatsby Frank Turner Rocks Youtube With Live Gig Stream

Lives Paganfest USA Deaf Havana: Unplugged Alfie Boe

Would you ‘Belieb’ it?! He’s at it again!

Suburban Legends

All is well in munchkin land?

Wicked The Musical

Ding Dong the wicked ol’ witch is dead!

Fearless Vampire Killers

Miley Cyrus will ‘redefine’ opinion with new album, says will.i.am Hilco gives HMV a second chance Psy is not a “Gentleman” in his new video

Introducing

The Climb of the British Festival

Mad Moon Riot...

Reviews

My Extraordinary

Paramore‘Paramore’ Depford Goth ‘Life After Defo’ Imagine Dragons ‘Night Vision’ Daughter ‘If You Leave’

Ellie Makes Music An interview with PELLA. Cloud Boat Parquet Courts Patchwork Native

Phoenix ‘Bankrupt’ The Summer Set ‘Legendary’ New Kids on the Block ‘10’ Michael Buble ‘To Be Loved’ Kurt Vile ‘Wakin On a Pretty Daze’ One Republic ‘Native’ James Blake ‘Overgrown’ The Tossers ‘The Emerald Fall Out Boy ‘Save Rock and Roll’ Frank Turner ‘Tape Deck Heart’

Features Elissa Francheschi Mad Moon Riot Andrew Hurst A Trip Down Memory Lane Man Behind The Camera 10 Worst Lyrical Disasters

{The TEAM} Festivals! Who we're watching this month Eminem - Leeds Fest I’ve been a fan of Eminem since I was a kid and although I’m not the biggest admirer of his new stuff I can’t wait to witness the classics live at Leeds this year!

- Elly Rewcastle. Editor .

System of a Down - Reading The Maccabes - Lattitude When everyone was listening to Busted and If I’m correct, it’s the only UK festival falling in love with NSYNC i was moshing where The Maccabees will be showing around my bedroom to SOAD, Serj Tankin their lovely faces and I just need to see was a love of my life. It’ll be a dream come them.

- Ashley Chalmers. Reviews Editor. true to really have the shit beaten out of me in a real mospit” - Katie Pathiaki. Assistant Editor .

Bastille - Reading I want to see Bastille at Reading because I am in love with them and their music.

-Katrina Quick. Features Editor.

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Rammstein - Download Subtle, gentle and elegant.

None of these words describe Rammstein.

Subversive, teutonic industrial power! Also fire is pretty.

Ellie Goulding - Isle of White I think she’s amazing, different, unique.

She has inspired me a lot whilst growing up, and to see her play in front of my eyes would be a thing ticked off my list!

- Emily Reason.

Assistant Introducing Editor.

-Chris Fay, Writer

Everything Everything Livepool SoundCity Everything Everything are my favourite band at the moment. They’ve got a great album in ARC and SoundCity is a great festival and I’d love to see them there.

Kids in Glass Houses Burnout I’m a huge fan of Kids in Glass Houses and it’ll be the first time they’ve played Bournemouth in over 3 years so I’m really excited

-Nicola Craig. Writer

-Amy Leadbetter.

Writer

Deftones - Reading Deftones have been through so much over the past 4 years. I’ve never seen them live before but they’ve never sound more comfortable in their own sound than they did on “Koi No Yokan” from last year. I’m hoping those songs will be twice as big live as they are on the record. To see them come out and absolutely kill it will be one of the proudest moments of my life. I’m sure they’ll blow me away.

- Jack Mckeever. Introducing Editor.

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Photo Credit: Flickr: http://www.flickr.com/photos/striatic/

Editorial

Welcome Back HMV Elly Rewcastle - Editor Unless you’ve been living in a hole this past month, you’ll surely have read up on HMV’s saving grace. The music high street brand has something to look forward to yet.

The popular store announced it’s admission into administration in March of this year and now the brand has been given a second chance. Hilco, owners of HMV Canada, have bought out the business and have saved 141 branches of HMV nationwide, including those in both of the towns close to me.

As a kid, my Christmas would be ruined if there wasn’t some form of voucher for HMV. It’s definitely strange opening a card and getting an iTunes voucher. Don’t get me wrong, I’m not ungrateful, but for all my life HMV has been the go-to store for a lot of my music collection.

My local shop was quite an expensive trek away, but that’s all down to the stupid prices of a return ticket on the buses that Arriva are, for some reason, proud of.

It was a concrete stop on any shopping trip and a lot of the time we never actually bought anything, but when we did we’d buy in bulk taking advantage of the offers and new releases.

As you’ll probably find out in this particular issue of Undertone, we really do cater for all genres. It was in HMV where I bought my first theatre album, which has come to be a huge part of my musical tastes. I bought Michael Ball’s self titled album, 10 years after its original release.

I still go into the shop now and head straight for the musical section.

HMV to a lot of people seem like the only outlet for physical CD’s, where I’m from there isn’t really an explosive amount of independent record shops so it’s either get it in HMV, online or get lucky in a supermarket.

I have come to appreciate HMV for it’s diversity though. Although it’s not flooding in copies of the Swedish cast recording of Les Miserables from 1999, in fact it’s not likely to even have one copy, I know that it will still have something that appeals to me. It has a healthy collection from a lot of genres.

As a person who studied Media theory until the skin from my fingers was wearing away from note taking, I understand the ‘long tail’ and what a business targets to make the money. A lot of a little.

But HMV is more than that- with digital music easily accessible from the click of a mouse and the typing of your credit card details.

To me, it’s the survival of what musicians aspire towards. As a musician, the dream you have isn’t to see your name on a video on YouTube with a leaked copy of your debut album. It’s your face on the album artwork and your name printed onto the shiny disc inside the case.

HMV is more than just a shop that sells CD’s.

It’s really the last hope on the high street where a person can just browse for new music.

The age of LPs was well before I was born, but from hearing people talk, the record shop was a place to browse. Pick up a record you’d never heard of before and just risk buying it on the slightest chance that you’d like it.

There’s nothing like that in today’s market. A simple YouTube search and you’ve got the entirety of the worlds music library at your fingertips.

Clicking the buy button doesn’t have the same sentiment as the actual CD that you handed to the cashier in such a hype. Practically yelling at them to take your money so you can get it home and listen to it in it’s entirety.

With digital downloads, there’s no more listening to album from front to back and inside out. It’s buying the singles when they come out because you know they’re the ones you like.

Why waste a tenner on thirteen songs when you’re sure you love the one that’s only 69p?

What if you don’t like the other twelve songs?

HMV is important to music. Although embracing the digital age is a must have in these days, HMV is still one of the crucial outlets of musical distribution. Like I said, why wait three or four days on that pre-order of your favourite bands new record when you can go to the shop and have it in your hands. Why put all of your faith in that one delivery from Royal Mail that could very well be late?

For me, There’s no excitement in buying an album online, knowing you can’t hear it for another 7-10 days.The buzz of seeing your favourite band on a record store shelf just cannot be beaten.

HMV is the outlet that musicians strive for. It’s the biggest musical outlet on the high street, it would have been sad to see it go. But now that it’s staying, I’m glad I can do my part and buy records from there in the hope that physical music won’t die out just yet.

Embrace the digital age but don’t let it consume us.

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Photo Credit: Flickr: Jason Persse

news

FLO RELEASES NEW TUNE FOR THE GREAT GATSBY

Florence and the Machine have released a brand new song, ‘Over the Love’ For 2013’s screen adaptation of The Great Gatsby - set for release on the 16th of May. The colossal motion picture needs a colossal voice to match, and who better for the job than Florence Welch?

Her strong, heartfelt tones of epic proportions match the prospective success of the film starring heartthrob Leonardo Di Caprio and the gorgeous

Carrie Mulligan.

Not one to shy away from a soundtrack, this will be Flo’s second contribution to the silver screen, following ‘Heavy In Your Arms’ which was handcrafted to suit the massive Twilight franchise third installment, Eclipse. Her atmospheric and almost ghostly finesse suits the historic theme, with a full blown orchestra and choir to match.

British rock singer Frank Turner delighted fans on April 25th by streaming the final show of his UK tour live on YouTube for free.

the gig went on. Karina Margole, tweeting as @ elogram said: “@frankturner is absolutely amazing!

Thanks tech for at least allowing me to enjoy this live!”

Frank Turner Rocks Youtube With Live Gig Stream

Performing from the London Forum, Turner threw his all into a set that took in hits from new album Tape Deck Heart (reviewed in this issue of Undertone) as well as old favourites from his back catalogue. Visibly tired by the end of the two hour set, Turner thanked fans both at the venue and watching via their computers as he closed the show with energetic renditions of ‘Try This At Home’ and ‘I Still Believe’.

Twitter was abuzz with approval, with the hashtag #fthclive drawing hundreds of tweets as

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Others were appreciative for rather different reasons, with @kieran182 saying: “Ahh the brilliance of live streaming - currrently pooing and watching @frankturner live”.

Tape Deck Heart has reached number 2 in the midweek album chart and is expected to be in the running for the top spot in Sunday’s countdown.

Turner is taking his tour around Europe and then across the Atlantic to the US in the coming months.

Would you ‘Belieb’ it?!

He’s at it again!

Guess who’s back again. Yep, once again this month the Biebs is making the headlines.

In this new section of Undertone’s latest news, we’re bringing you everything you need to know about the ups and downs of the worlds favourite teenage superstar.

“Hopefully she would have been a belieber.”

These are the first words that saw the 19-year old in the headlines this month.

Whilst visiting the prestigious Anne Frank museum in Amsterdam, the singer is reported to have written in the public guestbook, beloning to the museum “Truly inspiring to be able to come here. Anne was a great girl. Hopefully she would have been a belieber.”

No holiday for monkey Mally Mally would happen to be the young capuchin monkey owned by Bieber.

The monkey was removed from Bieber and his touring entourage upon entering Germany and was placed in quarenteened care.

It is believed that representatives of the singer originally tried to organise for the monkey to be returned to Justin.

Mally, who was kept in quareneened conditions at a Munich animal shelter, is now looking for a new home.

Associated Press reported that Biebers management had approached the shelter as they

were now “looking into the idea of placing Mally at a zoo in Germany” But it doesn’t stop there: Tour Bus or Hot Box? Sweedish police have reported yesterday that they found drugs on the pop sensations tour bus.

Police spokeman, Lard Bystrom, revealed that a small amount of drugs were found when officers raided the singers tour bus as it stood empty outside the Stockholm venue where Bieber was performing on Wednesday.

Police have refused to reveal what kind of drugs were discovered on board the bus but revealed that officers ordered the search after they ‘smelt cannabis’ coming from the vehicle earlier in the day.

Amongst the drugs found on the bus, officers also discovered a stun gun that was removed from the bus.

When will he learn?

Once again these news pages are filled with some shennanigans from the Canadian popstar.

The question is, when will the boy learn? What are your thoughts on Bieber and his latest headline hitting acts?

Get in contact with us over on @UndertoneZine on twitter or on Facebook at www.facebook.com/UndertoneZine

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news

All is well in munchkin land?

Ding Dong the wicked ol’ witch is dead!

Photo Credit: Flickr: Ambernectar 13

Ding Dong! The witch is dead! Which ol’ witch?

Baroness Thatcher? Apparently so according to this week’s singles charts. The iconic tune from the 1939 classic The Wizard of Oz has reached Number 2 in the UK singles chart having sold 52,605 copies, following the death of Britain’s first female Prime Minister, Lady Margaret Thatcher. It was decided by Radio 1 Controller, Ben Cooper, that the song would not be played in full, and instead a 40 second news feature followed explaining why the single had reached the position.

One of the most controversial Chart movements of all time, along with Killing in the Name Of reaching Christmas number one in 2009 and of course, God Save the Queen by The Sex Pistols reaching number one in 1977, Ding-Dong! The Witch is Dead has recieved mixed reviews, with some finding it rather funny and others finding it disgraceful and disrespectful.

A state funeral was held on Wednesday 17th April in London at St Paul’s Cathedral. Thousands of Margaret Thatcher’s followers lined the streets, wrapped in Union flags, to pay respects to the Iron Lady, amongst them; protesters wielding banners opposing the state funeral, and opposing her political ideals that once governed the country.

Rival campaign song from Thatcher fans, I’m In Love With Margaret Thatcher by seventies punk band the NotSensibles, reached 35 in the charts after having sold 8,768 copies.

Photo Credit: Eva Rinaldi

Miley Cyrus will ‘redefine’ opinion with new album, says will.i.am

Black Eyed Peas frontman will.i.am has said that audiences will be very surprised by Hannah Montana star Miley Cyrus’ new album.

He claims that the young singer is to take her musical career in a completely different direction.

After collaborating with Cyrus for a track on his solo album #willpower, the Voice UK judge said in a Google+ hangout that “she has redefined everything you thought Miley Cyrus was” with her new material. He continued to laud the star to slightly disturbing levels, saying that he was “so blessed to have collaborated with her before the world gets melted by her wonderfulness”.

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It will be the first album the 20-year-old-singer has released since leaving Disney behind and could mark a new stage in her development as more than just another product of the House of Mouse.

Cyrus’ new album is set to land later this year and she called this material her “biggest record,” suggesting a lot of her future career depends on how successful this turns out to be.

The support of noted producer will.i.am is a major boost though as his illustrious career shows that he definitely has an eye for what makes a hit.

Now that’s dope.

news

Hilco gives HMV a second chance

Last Friday, HMV revealed, to many relieved patrons, that it was not going to completely close the doors of its stores.

The labels are keen to keep HMV afloat, with it being one of the only remaining stores on the high street that sell music.

This is thanks to investment firm Hilco, which previously saved HMV Canada in 2011.

HMV fell in January, with a crippling debt of £347 million, forcing it to turn to administrators.

The retailer was purchased for £50 million and the investment saved 131 HMV stores, resulting in g 2,500 jobs being saved.

4,500 jobs were at risk if the 92 year old retailer were to close and at present, not all of the stores are set to reopen.

On Friday, HMV updated its site, and while it was not up for trade, it showed off its new motto; “We Are Entertainment”.

80 HMV stores have remained closed and negotiations are in place at the moment in an attempt to reopen stores in Ireland.

This new line comes with a new revival plan courtesy of Hilco.

Hilco took a risk when buying HMV with the ever increasing music downloads. When compared to HMV Canada, HMV UK is more at risk to the digital purchases, as Britons are buying more every year.

2012 saw a figure of 30% digital music downloads, which shows a 10% increase in two years.

The plan means to turn the retailer’s focus back onto music and film, and away from consumer electronics, according to The Guardian.

Band t-shirts and merchandise are intended to be at the centre of the revival, and record labels welcome this decision.

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Undertone’s Editor, Elly, has written an editorial at the beginning of this issue about HMV and it’s role in music.

Flip back and give it a read.

Psy is not a “Gentleman” in his new video Katie Pathiaki. Assistant Editor.

At about one minute in, after Psy farts into his hand and then throws it unto an unsuspecting girl’s face, he pulls out a seat for a woman to sit down for dinner, like a gentleman would, but lets her fall to the floor. What is more upsetting is that another man helps her up then violently chucks her to the ground again.

On April 13th, a new video from “Gangnam Style” pop star Psy, emerged from YouTube, causing a large amount of controversy.

After having a number one hit, and over 1billion views with the video “Gangnam Style”, Psy, the crazy Korean, exploded into our lives.

So with the news of a new song and video release, no one expected less than best.

The single “Gentleman” was first played on April 12th 2013, and leapt into the top ten’s after only a week on air.

However, the video, released a day after, completely juxtaposes the idea of being a ‘gentleman’.

“I’m a mother father gentleman” Psy chants whilst abusing several women. Not very gentlemanly behavior.

Twitter raised up a storm with feelings about the new vid. “@rawrriamapirate: But like, Psy’s new song is called “Gentleman” and his music video is him sexually harassing women...is he confused or...” “@Saschakeet: Finally watched the new Psy video. WTF with the hostility to women?

Gentleman NOT.” Within the first few seconds, Psy gropes a female mannequin’s breast, and has his own personal geisha privately dance at his table of gentlemen.

Throughout the video, Psy accompanies various women at the gym, who are wearing very little clothing, whilst the camera struggles to stay on their faces for very long; straying to their other assets.

At 1 minute 50, if you’ve managed to keep watching for that long, finally the woman gets Psy back by pushing him off of his chair; good on her.

But then, possibly the worst scene in music video history begins...

They seductively start eating food, where the woman’s choice to chow down on is a spring roll.

Not much is left to the imagination in this scene, which is horrendously unsuitable for children.

“I’m gonna make you sweat, I’m gonna make you wet” Psy repeats over whilst shaking a tin can until it explodes. Surely a euphemism for something.

Not all is bad though, Psy has created a new dance move for “Gentleman”! What is bad though, are the girls performing said dance in bikinis over the heads of men who are, conveniently, lying on the floor.

Of course it’s supposed to be ironic, Psy keeps insisting that he is a gentleman, but refuses to act like one in the video, and I suppose that has some sort of comedic value.

But does this excuse the over-the-top behavior portrayed by Psy throughout the whole video?

Maybe it is just meant to be a bit of fun, but some scenes really push ‘fun’ to a new, risky, level.

What’s your opinion? Send your emails to undertoneeditor@gmail.com titled “PSY”.

news

The Climb of the British Festival Elly Rewcastle Editor Over the past couple of years, the British festival scene has since seen a massive increase of eclectic mixes and a lot more demand for bigger and better line ups.

In recent years, the festivals that were the talk of everyone’s lunch time started in mid-April and mainly consisted of Reading and Leeds festival, Glastonbury, Isle of White Festival, Download and Sonisphere.

Since Glastonbury didn’t even go ahead last year and the UK leg of Sonisphere is no more, the void that would have been present a few years ago is now filled and often deafened by the rise of local relaxed, non-camping festivals such as Burn Out (featured overleaf ), Slam Dunk, Takedown and Hit The Deck.

Burn Out Festival Bournemouth The Old Firestation/Anvil July 26th - July 28th 2013 Day Ticket: £20 Weekend Ticket: £47 Burn Out festival began only a year ago in 2012.

The festival began in Andover, a three day festival taking place over a weekend in July. Prime time festival season. Although the 2012 line-up wasn’t huge, with headliners Don Broco, Bury Tomorrow and Futures.

This year’s Burn Out Festival has increased in price, rising between £5 and £8 from the £12£15 price last year. Weekend tickets have also increased, this time again by a £12 rise going from 2012’s £35 to 2013’s whopping £47.

When considering the price increase in tickets, a few people may be knocked but when the increase and development of the festival is considered, Burn Out is a steal for the price they’re asking for.

Photo Credit: Flickr: southsonic

This year’s line up, although yet to be fully announced, already has me bouncing on my toes.

Welsh alt. rock band Kids in Glass Houses are back on the scene, playing the main stage in the Old Fire Station alongside last year’s Natives, and new additions Straight Lines and Ireland’s Jody has a Hitlist.

With two headliners still to be announced and an already incredible line-up in the works already Burn Out is already starting to impress.

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On the second stage, sponsored by clothing company Atticus, Sonic Boom Six and Tek-One are the first two announcements and are already pathing their way to a brilliant weekend.

Alongside them are gothic theatrical lot Fearless Vampire Killers, down-tempo hardcore Brutality Will Prevail and garage punk n roll band The Computers.

There are more acts yet to be announced but it’s already shaping up to be one great weekend.

Keep updated with the festival through their facebook and twitter feeds at Facebook.com/ burnoutfest and @Burnoutfestival.

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news Takedown ‘13 Southampton Southampton University Saturday 11th May Tickets: General Admission £33.75 Tickets with 18+ Afterparty - £37.75 Takedown, unlike a lot of these up and coming festivals, only lasts for a day. Although Takedown has a much bigger range, covering the student union of Southampton University that teaches over 23,000 students.

Last year, Takedown 2012 was a huge success with it’s line up consisiting of huge bands like Skindred, Deaf Havana, Bury Tomorrow, Lower Than Atlantis, Don Broco, Heights and loads more.

The festival takes place across four stages, each of which are sponsored by a known brand, last year these included Monster and Big Deal Clothing (who proudly sold their clothing line across the festival).

This year Big Deal are back so make sure you drop by their stall and check out what they’ve got on offer.

On the line up this year, Takedown has stuck with the Welsh headliner and plumping for Merthyr Tydfil born and bread ‘The Blackout’ who recently released their third studio album ‘Start The Party’.

Also on the bill, making a Takedown reappearence again are Don Broco. The Bedford quartet have taken the music scene by a storm since the release of their debut album ‘Priorities’ in August last year.

Takedown does, at it’s best, bring together the best bands, both known and unknown, from across the world. With bands such as Dance Gavin Dance from California and German deathcore band, so comically named ‘We Butter the Bread with Butter’ The festival also offers a set of travel options for nearby regions to arrange transport to and from the festival. Locations including Exeter, Weymouth, Brighton, Bournemouth and Plymouth.

The festival also hosts it’s own 18+ aftershow, in collaboration with Uprawr, an independent alternative company that is known for hosting afterparties and live alternative events across the UK. The afterparty is to feature a special guest, DJ set from DJ Tek-One. Not a one to miss that’s for sure.

Keep up to date with all Takedown festival news through their facebook and twitter feeds. www.facebook.com/takedownfest @TakeDownFest Lower Than Atlantis control the crowds at Takedown 2012

Photo Credit: Flickr: MarkHaywardPhotography

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news Slam Dunk North: Leeds - Leeds University South : Hatfield - The Forum Midlands: Wolverhampton - Wolverhampton Civic Saturday May 25th - Monday May 27th Tickets: General Admission £34 Tickets with 18+ Afterparty - £38 SLAM DUNK NORTH SOLD OUT Slam Dunk Festival is the longest running of the three festivals featured in this month’s Undertone.

Since it began in 2006, with their line up including pop-punk legends Fall Out Boy alongside The Academy Is, Thursday and Hundred Reasons, Slam Dunk has never fallen short of putting it’s name on the Brisih festival map.

In 2006, the festival was a one day event held in Leeds Millenium Square and played host to only seven bands.

2007 followed up in the same suit, moving from Millenium square to it’s now home venue in Leeds University. Headlined by Reel Big Fish and featuring Paramore, it’s clear to see that the festival has taken full flight and has adapted well into it’s slot on the British festival roster.

By the time Slam Dunk reached 2010, the festival was a hit. This time the festival successfully stretched across the country and branched out to allow the South to join in the ever growing festival.

That year saw acts such as New Found Glory, Four Year Strong and Alkaline Trio.

This year Slam Dunk is shaping up even better.

Baltimore pop-punk quartet All Time Low are set to take the headline spot alonside Deaf Havana, Kids in Glass Houses and returning stars Four Year Strong who have performed at the festival before and are headlining the smaller Slam Dunk dates - Slam Dunk Wales, Slam Dunk Ireland and Slam Dunk Scotland.

With the final line-up now confirmed, involving bands such as the Polar Bear Club, We Are The Ocean, Blitz Kids, MC Lars and former King Blues frontman Itch, who is now embarking on his own solo adventure.

Slam Dunk has grown so much as a festival since it’s birth in 2006 and it’s become to be one of the UK’s biggest one day festivals.

It’s smaller than the huge camping weekend festivals but it’s big enough to keep the punters coming back year after year after year.

Keep updated with all Slam Dunk announcements on their facebook and twitter feeds www.facebook.com/slamdunkltd @SlamDunkmusic and on their website www.slamdunkmusic.com

Gallows take to the stage at Slam Dunk South last year

Photo Credit: Flickr: Cupkaykie

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Lives

Paganfest USA April 16th 2013 The Note, West Chester, Pennysyvania Sofie Kranstz When people hear the words ‘folk metal’ they probably think of long-haired men dressed in kilts, covered in war paint, while shredding their guitars; or perhaps friendly, joyous drunks in cargo pants covered in nature and Viking related tattoos. Paganfest America was a lot more than that.

This year, Paganfest has made its way for the fourth time with five amazing bands including the co-headliners Ensiferum and Tyr. The supporting bands were Heidevolk, Trollfest and Helsott. It is an understatement that the event was filled with adventures and entertainment which made it a night to definitely remember.

Coming from the southern part of California,

the opening band, Helsott, got the audience’s adrenaline pumping almost immediately. Eric Dow’s vocals complimented Steph Robinson’s angelic and powerful soprano vocals as she rocked out the keyboard. It was also clear that Helsott acquired thrash metal elements to their music—which made their performance very compelling and heavy. Helsott was definitely the perfect band to open for the supporting acts and it was certain that they gained a whole lot of new fans from their fantastic performance.

After Helsott came Trollfest, a folk metal band from Norway. To build up suspense and excitement for the viewers, they played the intro ‘Trollkamp’ for about a minute before they marched to the stage. Trollfest entered the stage in their honeybee costumes, antennas and sombreros with high energy. Even though Jostvein Austvik, the lead singer, had problems with his voice, he still managed to push through that and delivered a fantastic performance along with his band mates, including a saxophone player. Trollfest played a marvelous setlist which included their songs ‘Den Åpne Sjø’, ‘Brumblebassen’, ‘Brakebin’, ‘Karve’ and ‘Trinkentroll’. They closed their set perfectly with ‘Der JegerMeister’. They got the audience to sing along while two of their guitarists jumped off the stage with their guitars and ran upstairs to make sure the people on the balcony were having a good time as to the people on the floor. Trollfest also made the audience laugh in between their songs and was very interactive with the audience and everyone had a blast during their set.

Heidevolk, a folk/Viking metal band from the Netherlands was the next band to play on the bill and just like Trollfest, it was their first time touring in America. Everyone patiently waited for them to come out of the curtains and excitement filled the air. As soon as they went on stage, the entire floor turned to a giant whirlwind of folk dancing and circle pits, almost knocking off one of the merch table. Their performance was mesmerising fronted by two vocalists, Mark Splintervuyscht and Joris den Boghtdrincker. Even though Heidevolk had the most violent pits out of all the bands on the bill, everyone was caring and helped

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the people who fell down back on their feet. The audience enjoyed themselves so much that they demanded an encore but sadly, Heidevolk could not perform another song for their fans.

Up next was Tyr, another folk metal band hailing from the Faroe Islands. Everyone was impatient due to technical difficulties and being a few minutes late into their set but it seemed like most of the bands on the bill had this issue. Despite being a few minutes late and minor technical problems, Tyr still delivered a captivating performance and was very interactive with the audience. The guitarist commanded the audience to chant and raise their fists up in the air the entire set. Their setlist includes ‘Flames of the Free’, ‘Shadow of the Swastika’, ‘Hail to the Hammer’, ‘Hold the Heathen Hammer High’, ‘The Lay of Thrymn’ among others. All of their lyrics are in Dutch. Tyr was definitely the ideal band to open up for Ensiferum.

And last but not least, what everybody was waiting for, the all-mighty Ensiferum from Finland.

The band opened up with ‘In My Sword I Trust’ and the fellow folk metal lovers danced and sang their hearts out to the song. At one point, the microphones were having issues and two of the roadies had to go on stage and fix it while Ensiferum was performing. It took a little bit but that did not stop the band from playing through their set. Petri Lindroos, Markus Toivonen and

Sami Hinkka got the entire venue on their feet including the people back at the bar and even the people on the balcony. The three also rotated positions during their songs to make sure that each of the audience saw each one of them from their spot on the floor. Their performance delivered a wonderful show much to the audience’s satisfaction. They played ‘Guardians of Fate’, ‘From Afar’, ‘Burning Leaves’, ‘One More Magic Potion’, ‘Retribution Shall Be Mine’, ‘Tale of Revenge’, ‘Lai Lai Hei’, ‘Treacherous Gods’, ‘Twilight Tavern’, ‘Iron’ and ‘Battle Song’. Their performance was mind-blowing and terrific. Drinking horns were raised up high and proud to these folk metal legends.

Paganfest America was a nice combination of five outstanding live music acts, dancing folk circle pits and a party all wrapped up in one.

Despite the few technical issues, everyone just could not get enough and that did not stop anyone from having a brilliant and fun-filled night. I definitely recommend going to their future dates or going to the fifth tour because this is absolutely not an event you would not want to miss.

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Lives

Deaf Havana: Unplugged Union Chapel, London April 3rd 2013

Words: Jenna Young Photo:: Heidi-Charlotte Murray

Deaf Havana unplug and go mellow for an intimate show in a North London chapel.

The general atmosphere at Union Chapel is a confused one as about 900 rock fans enter. The grand architecture and stained glass doesn’t exactly say ‘There is going to be a really awesome concert here’. The ‘stage’ is set up, however, with microphones, drums, various other percussion instruments, a keyboard and three chairs placed centre stage.

Those three chairs are all that the support band, Big Sixes, take up, coming armed with their own acoustic guitars. It’s clear that this trio aren’t used to playing in front of large crowds yet, as the between song chat seem nervous and awkward, although this only works to get the audience on their side. When they start playing they seem much more at home. Their set fits the mood perfectly, featuring mellow acoustic songs with harmonies and occasional whistling.

Deaf Havana’s set is slightly bigger, with some songs including a full drum kit and the odd electric guitar. They open with ‘The Past Six Years’ instantly setting the mood for the evening, the crowd singing along from the pews. Throughout the set, singer James Veck-Gilodi, plays various stringed instruments, explaining to the fans, “What I do, is get drunk at midnight, buy instruments that I think look good and then try to play them in venues in front of nine hundred people when I still can’t play them.” It is the chat like this between songs that truly creates the relaxed atmosphere

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carried through their set.

As well as songs from their latest release, Fools and Worthless Liars, they play a new song called ‘Save’ and even a short verse of ‘Happy Birthday’ for their merch guy, who James continually refers to after this. Then there was an interval; according to James this was so that Tom, the guitarist, could have a toilet break and to make them feel important. During the second half, the singer continues to experiment with instruments attempting, very well, to play the drums during ‘Smiles All Round’, leaving Tom to sing the vocals.

After a few technical difficulties, resulting in James performing an impromptu solo song with his acoustic, they play ‘Anemophobia’. Despite the emotional introductory speech explaining how this song is about the front man’s battle with panic attacks, he proceeds to forget the words, humming a few lines before remembering his own lyrics again, receiving cheers of encouragement from the fans.

The set ends with ‘Hunstanton Pier’, followed by a closing speech thanking the audience for their continued support and for turning up to such an experimental evening, something that James had done repeatedly throughout the night.

Despite the strange vibes that initially passed through the crowd, it was easy to forget where you were and get lost in the music and the crowd left having truly enjoyed their night.

Lives

Alfie Boe

Bournemouth B.I.C April 4th 2013

Elly Rewcastle - Editor

Photo Credit: SAm_Joy

Alfie Boe may not be a name gracing everyone’s lips, but those familiar with the musical theatre star turned up eagerly in the masses to watch the Fleetwood mechanic turned opera singer ahead of this sold out show at Bornemouth’s B.I.C. Although a large percentage of this audience will soon be heading to the post office to collect their pensions, there’s a lively buzz hanging in the Windsor Hall as the crowd files in and finds their seats.

Opening the night with a very honest and heartfelt setlist is Swedish soul singer Emilia Mitiku. With a unique style and the cutest of introductions, Mitiku launches straight into the set with a wonderful jazz piece but without really introducing each song it’s hard to keep up with which song is which.

Why’s He So Mean, blossoms mid set and the upbeat tale really brings the night alive, gaining a large amount of appreciation at it’s end.

So Wonderful was yet another point in which Emilia Mitiku’s sound really is something to admire. The beautiful intricacy of the track carries throughout with delicate and honest lyrics adding the perfect cherry on top of this cake.

Although the hour long spot given to Mitiku seems to fly over, what she brought to the stage was beautiful. The opening spot, not quite the same as tonight’s headliner, was the perfect sound and the perfect warm up for what’s to come.

It’s a bit of a wait, enough time to jog to the bar and pick up an overly priced watery coffee and a large wad of tissues from the ladies room, before it’s time for tonight’s main event.

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Alfie Boe shot to musical theatre stardom after his leading role as Jean Valjean in Cameron Mackintosh’s 25th anniversary performance of Les Miserables. In a truly remarkable performance, Alfie has since released a further three albums, on top of his established opera career and set off on tours across the country.

Tonight in Bournemouth, Boe has no shame in bringing his versatile talent in every different shape and form he can muster.

Dubbed ‘The People’s Tenor’ for a reason, Boe makes a stunning entrance. Bright strobe lighting and an energetic drum solo leads into opener ‘It’s Over’ and a rendition of The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’.

He’s full of jokes and laughter as he bounces around the stage, introducing himself and his band to the audience before carrying straight into classic ‘The First Time Ever I Saw Your Face’ which cues some premature applause, slightly distracting the singer as he reaches the big finish with a hearty laugh.

Bring on a couple of couches and summon a couple of ladies from the front row and Alfie’s back into the swing of some of Italy’s greatest Neapolitan songs that he is known to love.

It’s a beautiful thing; Boe surely does have a voice to admire, his versatility between genres seems almost effortless as he treats this audience to a bit of everything.

Simon and Garfunkel numbers are a big piece throughout the set including the beautiful ‘Bridge over Troubled Water’ and ‘Everybody’s Talking At Me’.

By this point, the mechanic has gathered a hearty crowd at the front of the stage and it’s a wonder even he can jump and run about, never mind those rushing towards the front of the stage.

It’s a true blessing, however, to hear the all too familiar opening chords of ‘Bring Him Home’ from Les Miserables. Played on a simple acoustic guitar, Alfie brushes into his ‘signature’ track and there’s more than just a tear shed across this audience.

Twist the tables a bit more and it’s a bizarre but brilliant cover of Led Zeppelin’s ‘Rock n Roll’ that really triggers all kinds of admiration for the man running backwards and forwards like he were seventeen. There’s a rush into the stalls and a few more well known tracks from all corners of his repertoire before the night comes to a close.

Alfie Boe is a truly remarkable man, dressed in a simple waistcoat and skinny jeans, he glams up his performances to the level that suits him rather

than what is expected from the musical theatre star, or opera star he has come to be known as.

There’s no hiding behind pretences for Alfie Boe, everything is on the table and it’s a joy to see him bring forwards his own influences and favourites to share with an audience. An audience who, regardless of their age, can still apparently bust a move.

Alfie’s new album Storyteller is out NOW. Undertone 21

Lives

Suburban April 10th 2013 Legends Camden Underworld Words: Jenna Young Photos: Kayla Elliott

When the doors to the Camden Underworld open the Suburban Legend fans trickle in in small groups.

By the time the first and only support act New Town Kings take the stage there are plenty of ska lovers in the building ready to dance and have a good time. That is exactly what this 9-piece, fully equipped with percussionist, saxophonist and keyboard player, provides. Their upbeat songs are great to dance to and the catchy ‘la la la’ and ‘woah’ refrains are perfect to get any crowd singing. After thoroughly fulfilling their purpose of warming up the crowd, they head to the merch table to meet fans, both old and new, leaving the stage ready for the headline act.

Suburban Legends are a band known for putting on a show with big choreographed dance moves after their tours with Bowling For Soup and Reel Big Fish. Now, however, they are playing their first UK headline date, and are on a much smaller stage. At first it’s doubtful whether or not they will be able to perform to their usual standard but after clearing the stage of all amps and unnecessary equipment they were ready to entertain. They opened with ‘High Fives’ launching straight into high energy dance routines. The audience were instantly involved as lead singer

Vince Walker high-fived the fans close enough to the stage.

Audience participation continued to be a big part of the show with the band encouraging the crowd to dance and sing along. Halfway through their set they played the song ‘Hey DJ’, pausing part way through to invite two fans on stage for a dance-off, which ended in a draw and was settled with a milk drinking contest.

The next two songs are sung by guitarist Brian Klemm, while Vince plays the guitar. Brian has a great presence and some rather sassy dance moves, keeping the mood high. He struts about the stage singing ‘Girlfriends Pretty’ followed by a cover of ‘Sweet Caroline’, a classic sing-a-long song. Then the band return to their normal roles and routines continuing with their cheery ska-pop tunes, including a cover of ‘Under The Sea’.

They then play the three song encore, consisting of ‘Getting Down to Business’, their cover of ‘I Just Can’t Wait to Be King’ and ‘BSM’. Suburban Legends end the night the way they started it, on a high, having fun and including the audience. If you are looking for a fun night, this West Coast ska-pop group are the perfect band to see.

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Lives

Wicked The Musical Apollo Theatre - London

Tom Beasley

A short distance from London’s Victoria Station is a street dominated by a green hue.

That street is home to the Apollo Victoria Theatre, which has been home to the musical Wicked since 2006. Telling the story of ‘good’ witch Glinda and ‘wicked’ witch Elphaba prior to and during the events of the classic 1930s film The Wizard of Oz. One thing the show certainly isn’t short of is spectacle. Through a stunning set and some of the best lighting design the West End stage has ever seen, Wicked proves a glitzy, shimmering experience that dazzles the eyes as well as the ears. From the bright lights of the Emerald City to the beautifully traditional environment of Shiz University – yes, the Wicked Witch of the West was once a student – everything is designed with a remarkable degree of class and beauty.

As well as its style, Wicked clearly has huge reverence for the material that has allowed it to be successful. The story – adapted from Gregory Maguire’s 1995 novel – dovetails lovingly with L Frank Baum’s original tales of Oz. Weaving in and out of the well-known tale, Wicked is a masterclass in how to fill in missing details for the fans to pick out. If you’ve ever wondered how the Wicked Witch of the West became evil or the origins of the Tin Man, this is a show that you definitely have to go and see. Some of the revelations attached to the old source text are perhaps a step beyond the realms of possibility and border on the disrespectful, but the charm and glitz of the play allows those behind Wicked to get away with a huge amount of poetic licence.

The show’s genius however is in its performances. At its centre is a scintillating standout Gina Beck as Glinda. Beginning where the

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original Oz movie ends, Wicked goes back in time to the schooldays of Glinda and Elphaba, tracing their unlikely friendship. Beck gets the best lines of Winnie Holzman’s script, balancing humour and emotion with a nuanced performance. Her comic delivery is judged to perfection and she shows a truly enviable vocal range to rival that of original Broadway Glinda and wonderful Glee guest star Kristin Chenoweth.

Of course, the main lure to Wicked is Stephen Schwartz’s music. From the barnstorming numbers that are already entrenched in culture like Popular and Defying Gravity to the less well-known As Long As You’re Mine and Dancing Through Life, every number hits the back of the net. Lyrically, it is one of the cleverest musical theatre soundtracks ever and, when performed with such gusto, it hits home on every emotional level.

Stand-in Elphaba Michelle Pentecost looked as if she had been in the central role her entire life, playing off Beck’s Glinda with incredible skill and really selling the character’s complexity and vulnerability. Whilst faltering in some of the musical moments requiring real vocal power, her rendition of Defying Gravity left this reviewer covered in goosebumps. Without the little insert in the pre-show programme, it would’ve been impossible to identify Pentecost as an understudy.

In short, Wicked is a stylish production filled with nods and winks to the source upon which it is based. Aided by an incredibly accomplished cast and some of the best musical numbers currently gracing London’s theatres, it’s certainly worth a trip to the Apollo Victoria for a show that is truly defying gravity.

Lives

Fearless Newcastle Vampire O2 Academy Killers April 18th 2013

Elly Rewcastle - Editor

Fearless Vampire Killers aren’t unknown for their theatrics and brilliant stage presence that can win over a crowd. It was proven to these Geordie audiences only a few weeks ago when the quintet opened up for American Kiss-wannabe’s Black Veil Brides on this years Kerrang tour.

There’s plenty of energy tonight adoring the crowd, some of whom have lingered outside tonight’s venue for a good eight or nine hours.

An intense opener from support As The Dead Lay Waiting, really kicks off tonight. There’s surely some alcohol flowing through the veins of this band but nevertheless they manage to captivate the room and have them on command at the click of their fingers. So that’s what they do, they get the audience down on their knees for a stunning breakdown, that bursts into life as the crowd leap like salmon in their tiny Vans clad feet.

Trooping on stage without the theatrics, the guyliner, the gold paint or ex-frontman Laurence Rene, the once My Passion has transformed dramatically. Ditching the suits and the spray painted gold jeans for jeans and t-shirts, or lack of if you’re drummer Jamie Nicholls, Fort Hope bring their brand new sound to the crowd. Who buy it and love it. It’s different from all the bands on the bill tonight, choosing the more melodic and anthemic path of rock. It’s not quite, or anything

like, the My Passion days but it’s a change for the better and the dramatised goth band have become a much more relaxed and tuneful band.

Love them or hate them, Fearless Vampire Killers surely bring something special to the table.

Frontmen, the dynamic duo of Kier Kemp, fresh off his national prime time television debut, and buddy Laurence Beveridge make perfect stage entertainment. Both are different but both are stunningly precise when it comes to thrashing around the stage and throwing themselves, namely Kemp, into the crowds of adolescent fans who crush forward in an attempt to reach the frontman.

A set that’s packed full of incredible tracks from latest release ‘Exposition’ and a very surprising appearance of frontman Luke Lucas (of The Dead Lay Waiting) in a cat onesie through the encore of ‘I’m Still Standing’ that included piggy backs and stage diving once again.

Fearless Vampire Killers are another one of those bands that if you love them you really really love them, as apparent by the two hundred or so aptly dressed fans crushing each other in an attempt to get to the front. It’s a marvelous show if you’re into the whole theatrical thing and they certainly present a set that’s worth the watch.

Photos: Lydia Swinburn Undertone 25

Introducing

Introducing This Month..

Elly Rewcastle Editor

Mad Moon Riot..

LA based rock ‘n’ roll band Mad Moon Riot are

guitar riffs, a bass to blow the ears and true rock

the latest thing when it comes to snappy and

‘n’ roll drums. Want to know more about the band,

infectious choruses and plenty of free downloads.

formed in the heart of London and spun across

Embracing the digital age, Mad Moon Riot offered

the world to the music scene of Los Angeles and

their tremendous six track EP ‘Take Me’ over Band-

joined together after some relentless scouting. Un-

Camp for a free download. Vocalist Mia Von Glitz,

dertone talks this, song writing, tours, albums and

previously of Shoot the Freak, has a passionate

pudding with the band in an interview later on in

voice that drives the band forward in a mesmeriz-

the issue. So keep those eyes peeled.

ing amalgamation of anthemic vocals, catchy rock

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Introducing

My Extraordinary

If you’ve ever heard a Geordie speak, you’ll want

and hands twitching. Fusing together the expec-

to hear a Geordie sing. My Extraordinary, hailing

tations of their genre with strings, electronics and

from Tyneside’s ever so great music scene, are a

rocky dance beats, My Extraordinary provide a

band to watch out for.

fun and exciting experience for anyone watching

Influenced by the best of rock such as Young

them live or listening to their EP.

Guns, You Me At Six and 30 Seconds to Mars, the lads’ huge mammoth hooks and addictive

‘Reality’ is only the beginning from these North-

choruses are those you’ll find yourself humming

erners, who embark on their ‘End of Reality’ UK

when you least expect it.

tour this week. Find them near you and experience their catchy and stunning melodies for yourself.

Their debut EP, ‘Reality’, features a collection of melodic alternative rock that gets the feet tapping

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Introducing

Amy Leadbetter

Ellie Makes Music

If you’re looking for new music this spring, look no further than Ellie Makes Music. The talented

Denim and Joes Vanders to name a few.

The Western Mail and the South Wales Echo

singer songwriter, Ellie James is a 19 year old from

hailed Ellie as someone to watch in 2013, and with

Cardiff who recently released her first single on

her debut EP due to be released in June this year,

iTunes, entitled Shaky Hands. For the past four

the future is bright for this young talent. An inter-

years, Ellie has been performing around her home

view with Ellie will appear in next month’s Under-

city, supporting acts like Paper Aeroplanes, Sue

tone, so stay tuned.

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Introducing

An interview with

PELLA.

After selling out the Joiners back in December 2012, PELLA have just begun their journey into the music world. From Southampton, the boys aged at their late teens hold the dream to tour with Foals, Friendly Fires and hold a great ambition to be seen with Beyoncé.

Dylan, Zak, Pete and Ben have come together to create Southampton’s guilty pleasure: PELLA. Lead vocals and guitarist Dylan Keenan holds his signature pose, bringing in the crowds with their ability to uphold an original, new and exciting atmosphere to the stage.

Where does the name ‘PELLA’ come from?

Dylan: Our old guitarist, Callum, came up with the idea. He had seen it around college on posters‘PELLA’ is an ancient Greek ruined city in which Alexander the Great was from.

What’s going to be the point where you guys think to yourselves, “We’ve made it”?

Dylan: I really want to play on the BBC Introducing stage that would be amazing!

Zak: Once we have played at any festival, that’s when I will know.

What do you base your lyrics on?

Zak: I aim to base them on things that affect me, that actually make me feel something, and I can look back when we play the songs, and remember how I

Emily Reason. Introducing Editor

was feeling at the time I wrote them.

Dylan: My ex girlfriend, that is the basis of my lyrics. –laughsWhen are you hoping to shoot a video, maybe alongside your EP or in the future?

Dylan: We received a Facebook message from a proper production company for the chance to film our first video shoot. We were really excited but then we found out they wanted to charge us £500.

Pete: We are hoping to save the money, and then shoot it next year at some point.

Zak: We have had various college students asking us whether we want them to help us out, but we don’t want some crappy student video- we are serious about this, and want it to look professional, in the nicest way possible to any students who have asked us.

If you could see yourself touring with any artist who would you choose and why?

Pete: Beyoncé, my dreams would come true in every way possible.

Ben: Swing deep.

What has been the most memorable moment so far in PELLA? Dylan: We looked down, whilst we were playing, and there was blood

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Introducing everywhere. This guy had a tooth in his head, this was 2 years ago, and nothing has been that memorable since.

Who do you aim to be like?

Pete: We have always loved The Foals; we have based ourselves around them.

However aim to hold the whole reverb effect, the feeling of heading down to the sea and going for surf. That’s the feeling we want to uphold.

Dylan: Friendly Fires too, but we really want to create our own image and style,

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that would be incredible.

Where do you see the band heading in the next year?

Zak: We really want to get the opportunity to head to London with the Harlequin; it would be out of this world.

Dylan: I really want to have improved so much that we actually get recognised in the street. The girls. –smiles-

Introducing

Cloud Boat

Ashley Chalmers. Reviews Editor.

Listening to Cloud Boat for the very first time on John Kennedy’s X-Posure show on XFM was one of the most heartfelt, intriguing moments of my life. Excited by their sound after listening to their single ‘I Left For a Reason (It Escapes Me Now)’, I was thirsty for more. The two-piece from London have an eclectic sound. The moodiness of indie rock, mixed with the heart-skipping electronic drum beats immerse you into a dream state.

Tom Clark’s haunting vocals sink right into your heart, and are perfectly accompanied

by Sam Rickett’s intricately crafted riffs to create a truly beautiful musical experience.

They have released a number of EP’s such as the Wanderlust/Dréan and Lions on the Beach way back in September 2011, but an entire album Book of Hours is set for release on the 26th May. Having toured with James Blake they are on the road to the next big thing.

Parquet Courts

Jack Mckeever. Introducing Editor

The list of bands “reviving” the ‘90s slacker and stoner charms grows ever longer, but if there is a band who REALLY understand what it’s about then it’s probably New York quartet Parquet Courts.

After all, this is a band whose most well- known song to date is the motorik post- punk of “Stoned and Starving.” Their debut album “Light Up Gold” came out last week, and it sounds like Pavement having stoned play fights with Black Flag with a hint of the swagger and sheen of The Strokes, although front man A. Savage describes their sound as “The Fall crossed with Neil Young”, which is also a very apt. description at times.

Although they have received a reasonable amount of blogosphere hype, it’s safe to say that Parquet Courts are deserving of much of it. If we’re being sensational, they are the band who could fill the Strokes- shaped hole that now looms over New York indie.

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Introducing

Patchwork Native

{Live} Patchwork Native stormed the stage, despite obvious technical hitches from the beginning; they threw themselves into the deep end for the first time as the new founded quartet.

Lead singer Nick Roe, proudly presented himself with confidence, creating a vibe symbolising the effort and determination that clearly thrives throughout the young group. Although confidence lacked during the first couple of songs, it tended to grow tremendously as the set came to a close.

Nick’s glow gave the audience the impression that he was comfortable in his own shoes.

Born and bred in Dorset, the band have already ventured out to hold their very first gig in Winchester, at the Railway. The ambition and hope that sits within the band is presented

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throughout their set, by the effort given in their first show. Alex, the over 6ft bassist, throws himself around the stage giving the crowd the go ahead to dance. Nick introduces their third song, When In Rome, with “This is about a girl who doesn’t like having fun and is a bit of a prick!”

The show bursts with personality, lyrically revolving around personal experiences; traits that are fantastic to see in an upcoming band. Holding a range of acoustic and electric instruments, it really comes together and works well. After seeing their debut gig, there seems to be little doubt that the band have the courage to throw themselves into whatever path they choose.

Introducing

{meet the band} Where did the name ‘Patchwork Native’ come from?

Nick: Originally we had a ‘the’ in front of Patchwork Native, we thought it was really cool, but when we got involved with our friends at the JSW label, they helped us drop the ‘the’.

Alex: It was the kind of thing where we were told we would sound better, like stop, we are being called this. End of.

Max: We wanted a name that actually had meaning, we like the way it sounds political and social all at the same time, it originally came from FT’s lyrics.

Where do you guys get your lyrical inspiration?

Nick: I write the lyrics myself, normally find myself writing things about political and social issues.

Although I have thrown in personal experiences, mainly where girls have stuck two fingers up at me or whatever- just to add a sense of personality to the equation really.

Alex: Once Nick has written his lyrics, we all check over them to make sure we’re happy with what we’ll be playing to people.

How did you guys meet?

Nick: Me and Alex (Bassist) have been best friends since before I remember. Just before Patchwork Native was born, we followed Frank Turner on tour, even made it into the background of his YouTube videos. It made us both want to be involved in the music industry somehow. We officially became a band, through a couple of Facebook messages, asking the guys to join us on the journey to hopeful success.

What musical influences do you take?

Alex: Nick and me are completely in love with Frank Turner, Jim Lockey and The Solemn Sun. We followed Frank Turner round on his last tour, it was incredible.

If you had to be an animal for a day, what would you be and why?

Who are you favourite bands?

James: Have to love a bit of Justin B! Nick: My favourite has to just be anything in the scene of acoustic/folk based. The newer bands also, such as The Gaslight Anthem, they just aren’t big enough in the UK. They deserve to be much bigger.

Alex: I love the big chorus’, I’m a massive metal head, and my all-time favourite has to be Parkway Drive. We come together in the middle with all our different music tastes, its brilliant, and a real mix.

Where do you see yourselves and the band heading within the next year?

Max: A year older (laughs) Nick: We are soon recording our EP, which will then hopefully lead on to our first Album, and planning our self-fronting summer tour. Playing here tonight at The Railway has opened up many paths, as where we are from in Dorchester there aren’t many pubs around that support live music.

Alex: There aren’t really any bands that are like us, there are too many metal bands, so we like how we are much different to the rest out there.

James: Our goal is to sell out the O2 in Bournemouth within the next 3 years. Preferably headlining, but supporting would be pretty sweet too.

Why choose to take the path into music?

James: I told my girlfriend playing live was better than sex, and she slapped me.

Nick: Being in a band with three of my best friends, that’s why.

Alex: Worked hard, equally minded, we were bored and lonely.

The band are working towards a headlining tour this summer around the south coast, alongside the new release of their EP at the end of July. We hope it all goes to plan, as it’s all very exciting stuff!

Alex: A Kangaroo, because it’s physically impossible for them to take a step backwards.

James: Any Pokémon, oh wait no, I think I’d want to be a monkey, because then I can throw shit at people and get away with it!

Max: Geese, because no one fucks with a goose, they have teeth in their tongues.

Nick: Anything, just not stuffed in Max’s house.

Where we have band practice, there are stuffed badgers and everything all around the room…. it’s creepy!

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Interviews

An Interview with: Elissa Francheschi Jenna Young - Lives Editor

Unsigned singer-songwriter Elissa Franceschi tells us all about her beginnings in music and why you need to her next release.

never say about a song, ‘Oh that’s an R’n’B track or that’s a real country song’ if you like those genres you’ll be able to hear the influences in there.

It’s after a busy day at her day job that Elissa walks into the Railway Inn for our interview. Despite feeling a little under the weather and having a meeting with her band after we’re don, she is upbeat and ready to chat and laugh about her music and influences.

Are there any specific artists that have influenced you?

Undertone: If someone’s never heard your music before, how would you describe it to them?

How about your main influences that got you into music?

Elissa: You’d think I’d get good at answering this question; this is always the first thing. ‘So, describe yourself’ and I find it very difficult. It’s not that complicated, ok, I guess its pop rock. I’d say it’s adult pop. I think the issue anyone would have describing themselves is that I’m influenced by so many things, R’n’B and country are probably my main loves of music genre and although you could

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Elissa: Yeah, God yeah. From any particular genre or just generally in life? We could be here a while [Laughs]

Elissa: I don’t know if there was any one artist that got me into music but I listened to so many classic songwriters growing up with my parents; Fleetwood Mac, Joni Mitchell, Stevie Wonder, the obvious choices that you’re gonna bring your kids up on. I was a 90’s teenager, so all the 90’s pop bands that we are seeing in the big reunions at the moment. I loved all that. And as I grew up, I went to uni and I really got into folk music, country

music, the list is endless. But right now, what am I listening to right now? The new Justin Timberlake album! It is so good, it’s stupidly good. I don’t really understand what’s gone on with Jessica Biel, I was really quite certain that I was gonna marry Justin Timberlake at some point. That ship has sailed. [laughs] No hard feelings Jess. [laughs again].

Why did you start writing music?

Elissa: Do you want the honest answer?

Yes, always!

Elissa: [laughs] Umm. [pause] I didn’t find school very easy, so I would often find myself a bit of a loner at times. I’d find myself in the music rooms quite a lot and I was very drawn to that marriage between poetry writing and I was a piano player, I was learning piano, and it just seemed to be a natural bond to put the two together and before I knew it I’d written songs when I was about 10 or 11. I was like ‘This is quite cool’.

Undertone: Why have you decided to make this release an EP instead of a full length album?

Elissa: It was a pretty piss poor idea actually because I’ve written so many new songs now, I

mean it basically is an album. I need two more and you would classify that as an album. Calling it an EP is pushing it beyond belief, I might have to split it and do two EPs which people are gonna hate me for. I guess the logical idea behind doing an EP was a marketing idea, it’s less songs to try and push to labels and things, a full length album you’ve really got to take your time to get your teeth into it but if I’m like ‘Here’s three cracking songs’, now it’s seven, but if it’s just three, it was meant to make my life easier.

You’ve said with one of your new songs ‘Oceans’ you want people to take their own meaning and feelings from it. Do you think about what other people are going to get from your songs when writing?

Elissa: I’d like to say yes, ‘cause that makes me sound really full of empathy. Maybe I shouldn’t say this, and hopefully it will change, but for me song writing is actually quite a selfish thing. I really do it to get something out, it’s like the equivalent to someone painting, or writing in their diary, or boxing, getting their frustrations out. So when I actually sit down to write a song I’m not thinking ‘Oh, I wonder how someone will get something out of this’. If you look at the content of the songs, Oceans I’m talking about, it’s a really sad song, I’ll be surprised if anyone got anything positive out of it. A few girlfriends that have heard it said that they cried tears of relief when they heard it so maybe it will help people in certain ways.

Final question. Why do you think people should go out and buy your music?

Elissa: It’s honest, I think they are strong pop songs, so they’ve got really quite catchy hooks, melodically and sonically speaking they sound quite big and there’s quite a narrative going on.

Oh, that sounds like such a load of twats. I mean, I wouldn’t make music that I thought was crap, I guess I think that its good, not great, but its good I’d like to think it was relatable for other girls going through things like that. Hell, if a guy can relate to a song I’d love to know. That’d be really nice for me actually.

Elissa is currently working on her EP (or EPs) after having reached more than her target with the site PledgeMusic, receiving donations from her fans, and is looking to release it this summer.

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Interviews

An Interview with: Mad Moon Riot

Elly Rewcastle Editor

Mix together a combination of British rock and the LA music scene and Mad Moon Riot is what you get.

What are your main influences/inspirations when it comes to Mad Moon Riot?

Mia: Guns n’ Roses, now and forever. And as the front woman, I am inspired by many rad chicks who have come before me. All the strange rock n rollers. Joan Jett, Stevie Nicks, Patti Smith, Karen O, Allison Mosshart, Amanda Palmer, Courtney Love, Shirley Manson, Suzi Quatro and too many more to name.

How did you guys meet?

Ru: We [Ru and Matt] have known each other since we were five years old, things had sort of broken down and it didn’t seem as though there was going to be much of a future for the band.

Matt: Ru came to me one day with the idea to pack up, move to LA and try to restart things there. I

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agreed pretty instantly and about 4 months later, here we are. Ru: We met her [Mia] crazy ass at Public House in Los Feliz and ended up hanging out with her and her friends a few times, and actually didn’t audition her for a couple of weeks.

We thought, well, she’s crazy, but she might be JUST the right amount of crazy…

Ru: When we first arrived in LA we met a guy called Barry Squire who helps find musicians for bands, essentially he’s a musician recruitment specialist.

We worked with a few guitarists before we found Pou, (pronounced POW!) he is, as his name suggests, a bit spicy, and that’s why we love him.

Being from both the US and the UK, do you find there’s a difference in the music scenes?

Matt: That’s one of the main reasons we left the UK. London in particular is quite possibly the worst place in the world to start a new rock band.

Unfortunately live band music on a smaller scale seems to be dying out if not already dead. It’s still an amazing place for bigger acts who can play places like Brixton Academy, Wembley Arena,

the O2 etc., but few people go to small venues just to see live music any more. As soon as we arrived here we noticed an enormous difference and people would actually go and hang out at venues just to catch random live music. LA, and in particular the strip, is begging for rock and roll, and we’re here to answer said demands.

Do you find that being from different countries and being raised around different cultures influences your writing?

Ru: Not particularly, and it’s not like the British guys write in a particularly “British” way or vice versa (Mia might dispute that ‘cause she’s a ball-buster).

The fact is, our biggest influences are actually American rock bands, and that probably comes through in the songs. That’s another reason why we moved here, because we’ve always felt that our music is much more suited to an American scene.

Do you write as a band, or individually? Or does just one member write the songs?

Ru: All of the music has been written by myself or Matt over the last 5-10 years. Sometimes of us of them putting separate bits together, other times we’ll just come in with a whole song completely written Matt: It always starts with us writing the guitar part or a drum groove. Normally one of us has a riff or a song on the guitar and will check with the others if it’s actually any good or not. Then Ru will normally work out the entire drum track on the spot, by way of air drums, and I’ll sit down and work out a bass line.

Mia: We sit in my apartment and go through everything to make sure everyone’s happy.

Then we’ll get in the rehearsal studio and see if everything works when it’s played louder and just iron out the final creases.

What is your writing process? Is it just continuous, writing on the road or at home etc. or does it happen in one block when you can all get together in a studio and write like crazy?

Matt: We normally tend to work in blocks of writing. When we moved out here we had 19 instrumental tracks written and recorded but no lyrics. We started writing our first lyrics around mid-October and probably had 17 or so done by February.

What are Mad Moon Riot’s future aspirations?

Where’s next?

Pou: We have some really huge exciting plans for the band over the next 6 months. We can’t go into everything now but we should be doing our first video soon and we are also in discussions to cut a full-length album. Obviously gigs are on the horizon too. Long term we want to be headlining festivals in the dark and be the biggest band on the planet. There’s not much point in aiming for anything less!

Mia, you’ve been in quite a few bands before Mad Moon Riot, how do they compare?

Mia: I think being a musician means trying on a lot of different style hats. I’ve essentially gone from grungy do-rag, to glittery glammed out head piece, to top hat, to pork pie, and trucker, and back again, and who knows what will be in store for my hat collection in the future.

It’s important to be creating new things with new people, otherwise you never grow. And the relationships I have formed with all my bandmates along the way are the strongest you can even imagine. You live with these people, you create with these people, there is nothing greater that multiple people can share. This is a metaphor of course, a hat would never stay on my head through all the headbanging.

I’ve been told that Mad Moon is the best original material I have worked on for my voice, to date. I tend to agree. Matt and Ru’s tunes have had a way of showcasing my voice that I think I never really knew I could find, and they are incredibly encouraging and supportive. I think we all admire each other and that is a tough balance to find. I fancy the fuck out of these boys.

And last but not least, a few fans have been asking if you’ve had vocal coaching Mia?

Not yet. But I intend to. This music is pretty challenging, and testing my limits daily. Just some guidance would come in handy, (haha “handy”), about breath control and stamina and tone and diaphragm and all that shit I have no idea about. I guess the proverbial proof will be in the proverbial pudding. If you know what…I’m saying, you know, about pudding and, music and, yeah…

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Interviews

An Interview with: Suburban Legends Jenna Young - Lives Editor Suburban Legends have just played their first UK headline tour and here they tell you why you should check them out, what’s next and what it was like working with Jimmy ‘The Rev’ Sullivan Suburban Legends are, in the words of lead singer Vince Walker, a “ska rock pop” band from Huntingdon Beach California. However you classify them, their music is upbeat and cheerful, featuring plenty of brass instruments and guitar solos, the kind of music you have to tap or bop along to. This is even more the case when you see them live. They earned a name for themselves in the UK supporting bands such as Reel Big Fish and Bowling For Soup who they have become friends with over the years.

“Even my friends and family have heard the CD’s and songs, then came out to a show it’s like completely different coz we do a lot of dancing and choreography and stuff like that. We attempt comedy a little bit,” laughs bassist Brad Polidori.

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“It’s a fun live show and it’s really for all ages.”

“As long as you’re ok with swearing,” adds trombonist, Brian Robertson.

And of course, playing their first headlining UK tour, opens up more opportunities. “When you play support you pretty much get 30-45 minutes and you just play the best that you can,” says Vince. “Not that headlining isn’t but you play a little bit longer.” Of course as a headline act you know people are there to see you. “[As a support] you’re playing to other peoples fans,” explains Brad “You’re trying to gain fans that way.”

Being a support band does offer opportunities that a smaller band might not normally get, such as touring Europe as Suburban Legends did with Reel Big Fish through March and the beginning of April. “We ended up in a lot of new cities, you know, for example we were in Latvia, somewhere we never thought we were gonna end up, but just walking around there,” says trumpeter, Chris

Lucca, while Brad adds, “And playing to the people that have never seen you before and just recently heard of you and like they accept it and they wanna get a CD and a t-shirt.” This tour held nothing but good memories for the band, so good that they didn’t wait long before embarking on this five-date tour.

Back when the band was young, the guys would jam with their high school friends Brian Haner Jr. better known now as Synyster Gates, and Jimmy ‘The Rev’ Sullivan. Vince opened up about what it was like playing with the legendary drummer, who sadly passed away in 2009. “Jimmy was crazy but he was awesome, the first band that I was ever in was with umm… Jimmy, Brian and Syn, so we all kinda grew up in the same neighbourhood.

Nowadays if we run into each other it’s like remember when we did this… but I haven’t really been in contact with a lot of those guys but I think Brian [Klemm, Suburban Legend guitarist] has,” says the singer. “Jimmy was a really fucking gifted guy, an incredible drummer, like, he would come in and, you know, one instance toward the end he was like playing with broomsticks and stuff just for fun. Everything was like opposite but it still

worked. Jimmy was rad and we all grew up in the same area, we went to the same high school and stuff,” he reminisces. “After high school though he was in our band for a little bit and then he went on to do Avenged [Sevenfold] but he was a good guy, a really good guy.”

Now Suburban Legends have six albums under their collective belt, and are looking towards the future. “We’re doing a “fantasy” cover album,” says Brian R. “We’re doing 6 songs and we’re gonna release an EP,” adds Vince, on the subject of their next release. “We’re hoping to come back out to the UK in the autumn or winter,” he continues, “We’re trying to get out here again to do more headlining shows.” It’s a joint dream of the band to be able to head further east however, and play shows in Japan and Australia. “That’d be rad, after this particular tour we have so many markets that are brand new to us in the mainland areas, so they would be fun markets for sure,” say Chris.

So, keep an eye out for much more Suburban Legend action this year, and check them out live as soon as possible!

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Interviews

An Interview with: Andrew Hurst Imagine it, it’s just before 9am, somewhere in the Swiss Alps, with that picturesque landscape stretching on for miles and miles around you, it’d be a truly remarkable sight, right?

That is if behind you, your double decker tour bus doesn’t stand motionless, with thick plumes of polluted black smoke billowing from it’s engine, swallowing with it the scenery and all of your possessions in one almighty explosion.

That tour manager lark isn’t a walk in the park, as one local lad turned TM extraordinaire found out as his office exploded mid-tour. Andy Hurst has experienced his fair share of ups and downs behind the scenes of some of the UK’s most toured bands. “It is definitely a tightrope” admits Andy, who walked into the world of managing multiple cross-UK, European and international tours completely by accident.

People think “oh you’re on tour, must just be a party every night!” and it’s believed that a TM just lives the ‘rockstar life’. They travel from place to place with a band listening to music all the time and meeting all those new people. With a laugh Andy admits “In my case for sure the opposite is true”. Behind the scenes where the stress and the tantrums happen it’s the tour manager that has to deal with it all. Andy knows better than any just how tiring that can be “I’m ‘at work’ until we have checked in at the hotel at the end of the night, [which is] often at 3am”.

It does seem however that this TM has had his fair share of mishaps, “You know you’re having a bad day at the office, when your office explodes.” is part one of two detailed tour journals self published by Andy. Following a 30-plus date tour across parts of England, but mostly mainland Europe, Andy shares the experiences of being on tour. Centralised around one specific event, and

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elly Rewcastle - Editor

you definitely couldn’t even write it.

The bus exploded.

With his tour bus in flames, his passport, earnings from the previous dates, laptop, phone and wallet going up in smoke, it had to have felt that everything was over; “we were about one minute from a 13-mile long tunnel. If the fire would have happened inside the tunnel, we would all have died.” says Andy in a slight moment of disbelief.

Tour managers are the most underestimated people in a bands roster, they print off the setlist, round up drunk band members and get them on stage safely. Andy does all of this, manages the merch, ensures that hotels are booked and include fully operational showers on top of keeping everything in full working order and making sure that everyone is just about happy.

You hear of solo projects and self released autobiographies from the bassist of that band or from the guitarist of that other band but it’s the people behind the scenes that are forgotten. Next to the tour manager stands the sound guy or the guitar tech who’s in conversation with the bus driver. They’re not the faces on the album sleeve or the posers on the posters but they’re the cogs that make the machine work, and make it work well.

“I became a Tour Manager entirely by accident,” Andy admits, “I quickly learned to love it.”

Of course, what’s a tour without a tour manager ey? ‘“You know you’re having a bad day at the office when your office explodes” Tour Journals Part 1, by Andrew K Hurst” is available to buy or download now at www.andrewkhurst.co.uk

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Features

A Trip Down Memory Lane Katrina Quick. Features Editor

This issue we asked the team what their most memorable song was and why. Our writers visited their past to find that one special song that means the most to them.

Katie Pathiaki Assistant Editor American Idiot Green Day

Jack McKeever Introducing Editor Heroes David Bowie

It was the middle of June; the sun was kissing my cheeks as I stood in the outdoor arena. At 11 years old, this was my first ever live concert. I woke up that morning filled to the brim with excitement and anticipation. My mum, worried sick, begged me to be careful. Brushing her off, I bounded over to my best friend’s car, and off we went. Surrounded by 50,000 people, I felt more at home than I had ever felt in my life. The unity of the crowd engulfed my body and I felt every heart beat pound in my chest as I waited.

Finally, the trio waltzed onstage, and every inch of my body tingled with joy. This was the wakeup call I needed. Watching every move Billie Joe Armstrong performed, I knew where I belonged.

This crowd is where I wanted to stay forever.

American Idiot was more than a song for me, it was a life change. A life decision. Whenever I listen to this song I am reassured; this is the life I want to lead.

Megan Hunt Design The Click Good Charlotte

I don’t know that I’ll ever forget the excitement I felt when I was given my first ever itunes gift card.

I was barely containable, and I spent all £15 of it in the space of about half an hour. One of the first songs that I rushed to buy was David Bowie’s “Heroes.” In my formative years I was raised on a healthy diet of Roxy Music, Tom Petty and The Bee Gees, and up until this point this was the only Bowie song I’d ever heard.

I still remember the shivers running down my spine the first time my 12 year old self played “Heroes” through a set of headphones. The sheer beauty and magnitude of the glorious synth haze and the driving bass line is something that is incredibly life- affirming to me today, but at the time I was positively shaken up by the whole listening experience. This is the first time I remember finding that deep, moving connection with music that has stayed with me ever since. It’s one of, if not the most important song of my life.

I discovered Good Charlotte at the age of 9 and they quickly became my favourite band. My younger sister got into their music a couple years later and Good Charlotte has ever since been our biggest mutual love. After a rough patch in my teenage years, after losing everyone I considered a friend, my sister and I were closer than ever. This is when we found 'The Click'.

Despite being appropriate for the time, my sister and I found the opening line, ‘Just because I walk like Obi Wan Kenobi,’ thoroughly amusing and it’s a line that we quote to each other far too often. This song is one of the best memories I have from being a teenager, as it reminds me of how lucky I am to have my sister as my best friend.

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Katrina Quick Features Editor Cape Cod Kwassa Kwassa Vampire Weekend

Jenna Young Lives Editor Dancing In The Moonlight Toploader I’ve always enjoyed being in the spotlight. I used to dream of being an actress, perform in school plays and sing to my whole family (lucky them!). I also used to do tap dancing. At the age of seven I performed my first and only tap show. There was a group number, in which four of us performed dressed as teddy bears, and then the finale. It was during the finale that this song was played and I will always remember the excitement of my first true stage experience when I hear it. There was such a hectic feel back stage as the adults tried to sort out make-up, hair and costume changes on the children. Even twelve years later I can still remember the mixed feeling of nerves and excitement as I sat doing word-searches wearing make-up for the first time in my life, waiting to go on stage and show off to not only my family but complete strangers too. I don’t think there will ever be a time when this song doesn’t put a smile on my face.

My friend Georgia had a house in the South of France where five of us, dubbed “the fucked five” stayed for two weeks.

That summer was our first taste of freedom, the only time we had ever been on holiday without adult supervision. We went to a sex shop giggling, we drank stolen whisky in a graveyard; we met a stoner who drove us home from the lake high. It was possibly the best summer of my life. The only music we had was the first Vampire Weekend album, which we played on repeat. “Cape Cod Kwassa Kwassa” was a favorite and one of the girls, Naomi, used to play it on her guitar. The feel this song has of corrupted innocence captured the feel of that summer, a summer I will never forget.

Sam Lawrie Writer Disco 2000 Pulp

Before starting university and moving out, everyone tries to ignore the fact that they’re going their separate ways. As our final day of school crept closer and closer, my friends and I didn’t really spend much time dwelling on the thought that, in a matter of months, we’d be scattered all over the country and some of our paths may never cross again.

However, as I began packing my belongings in preparation and saying my goodbyes, I used to listen to Disco 2000 by Pulp and it made me think about the future. The time frame may be different to the original song, but the meaning behind it still rang true for me. Thinking about all of us learning new skills, meeting new people, doing our own things and having our own lives, trying to picture what we’ll be like “when we’re all fully grown” gave a bittersweet feeling of sadness yet optimism. Whenever I hear that song, I think of my friends from home and the thought of us all meeting up in, say, ten years from now.

The thought never fails to make me smile.

Asleigh Rigden Writer Wherever you will go The Calling Sat next to the love of my life in my car, we began discussing ‘us’ and what we were going to do when I went to university. He took my hand and kissed it. Losing myself in his beautiful brown eyes, I could feel my own welling up.

I questioned if it would work as we would be away from each other for so long. I didn’t need to say a word as he knew what I was thinking, that’s what happens when they’re also your best friend. Pulling me close, he whispered “we will be fine, if we can make it through to December, we can make it a lifetime together.” To this day he sings to me, “If I could, then I would, I’d go wherever you will go.” I could never imagine a life without him in it.

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Features Ashley Chalmers Reviews Editor Fix You Coldplay I’m standing there amidst 60,000 people in an open top arena. It’s a pitch black sky and pissing down with rain – quite typically expected of British summer weather. As cold and as wet as it is, I couldn’t care less because Coldplay are playing on the stage two rows in front of me. Tom, Zoe and I had spent the entire night bopping along to their greatest hits, taking part in a glowing frenzy during Charlie Brown with our beautiful Xylobands and getting attacked by MASSIVE beach balls. Torrential conditions were not enough to dampen the spirits of the thousands of people who’d come to watch their spectacular show. Their old classic, Fix You, was eagerly awaited by the fans. Hearing one of the most exhilarating riffs in pop culture surging through the speakers was one of the most heart-wrenching moments of my life. Drums crashed in to the last leg of the song and fireworks shot out from the stadium roof, creating an immensely excitable energy that I will never forget. As the crowd sung back the lyrics, Chris Martin held his chest as though he’d been shot through the heart. The song itself holds such a sentimental message, and to see it live with the friends I love meant the world to me.

Tom Beasley Writer Glen Campbell Rhinestone Cowboy Of all of the music I have ever listened to, Rhinestone Cowboy is the song that sticks out as special. If you’d asked me to sing when I was a child, it is the first song I would’ve sung, and it’s a go-to karaoke track even now. Not only is it one of the greatest country songs ever written, but it holds special -memories for me. It was the first track on the compilation album of country music that my dad used to play on almost every car journey. Regardless of the length of the trip, we would never get past the first four or five songs because I would insist on hearing Rhinestone Cowboy over and over again.

Every time I hear or sing the song, it takes me right back to my childhood. I haven’t sung it in costume yet though. Now there’s an idea.

Emily Reason Assistant Introducing Editor Nothing Good Has Happened Yet We Are The Ocean.

Me as a 14 year old, fan girl, dropped off by my mum- held much excitement to see You Me At Six for the very first time at the Joiners, in Southampton. Not expecting much, I fell in love with the second support act, ‘We Are The Ocean’.

I remember throwing myself into the mosh pits, not holding a care in the world at that moment in time, unless I received a punch to the face. “Nothing Good Has Happened Yet” echoed around the small venue, producing an

incredible atmosphere.

The hot sticky feeling in the air didn’t seem to stop anyone in the room from having a wonderful time. My friend dragged me to the front of the stage, where I could almost reach out and touch them as I threw my hand in the air with the music dancing around me. Singers, Liam and Alfie, two very different styles of vocals, jumped around the stage, creating an image of battle of the bands, which was highly exhilarating.

The feeling of being melodramatic, young and heartbroken instantly jumps out at me.

The song grabbed my attention instantly, giving me the comfort of relating to the lyrics with the situations and feelings that I held at the time. “Nothing Good Has Happened Yet” has been there for me throughout the harder times of my teenage years. The sort of song and will remain there forever. I have gone to see these boys time and time again and with their endless meaningful songs holding beautiful lyrics they have never let me down.

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Features

Man Behind the camera

Katrina Quick. Features Editor

Music and film go together like bread and cheese. Without the cheese the bread is all dry and gets stuck in your throat. Without the bread you’re really just eating a block of cheese. Here at Undertone we understand the need for bread and cheese to be paired, just as music and film need to be paired. We spoke to aspiring feature film director Daniel Gold, about the importance of music in film.

Daniel, 22, has already made a name for himself in the industry despite only having graduated from Darby University just under a year ago.

Daniel’s graduation film, “No Quarter” was recently nominated for Best Thriller at Screen Test: The UK’s National student film festival.

Danny was interviewed by the BBC after casting TV actors Jeff Stewart from the Bill, and Matt Healy from Emmerdale for the lead roles. The actors later described Daniel as “a visionary, definitely someone to look out for”.

Daniel often uses music to capture emotion in his films. “Music works like trigger for emotion, it’s like the instinct of your soul. For example you see a man crying alone in a car and it’s not that impacting - add music and it creates the desired impact”. Daniel incorporated relaxing classical music throughout the film in order to “juxtapose the violence and make an impact”.

Daniel also directs music videos, and has worked with up and coming singer/songwriter Jay Brown, who recently opened for Bastille on their UK tour and whose song “video” has featured on BBC

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Radio One. Although there are a few perks to the job, such as working with the famous, being a feature film director isn’t always easy. “It’s frustrating... filmmaking is a battle, you need the right people on your side, for me it’s always important to work with the most creative and talented people I can”.

For his next project, in which a young boy is peer pressured into stealing from a homeless man, Daniel is working with director of photography David Marsh. Marsh shot both ITV’s “Downtown Abbey”, as well as BBC One’s drama “Prisoner’s wives”. “I’m very lucky to be working with someone like Dave”.

Daniel goes on to say that although the editing process is difficult, when it works its “magical, I’m in awe of the finished product. I think to myself; FINALLY”. Despite occasional difficulties, Daniel says “I love filmmaking, it’s my life...I’m so passionate about the whole process.” Daniel hopes that his work will “really connect with people...I want people to feel like there are in the film”.

When asked what inspires him, Daniel finds it difficult to find something specific. “Cinema and life experiences mostly, different interpretations of films have influenced my work”. Daniel draws on art to inspire too “film originates from photography and photography originates from art...so it’s important to go back to the roots to gain a broad range of influences”.

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Features

Top 10 Lyrical Disasters.

Katie Pathiaki. Assistant Editor.

Have you ever been sitting there, singing along to one of yor favourite tunes, and suddenly thought “what on earth are these awful lyrics i’m repeating”? We have all been there, and there are many songs where, quite honestly, nothing makes sense. So to make things easier for all of you music-lovers out there, I’ve compiled a top 10 of the worst lyrical disasters, so you never have to listen to them again.

10

Alicia Keys - Girl on Fire.

“Shes just a girl but she’s on fire” Shes a girl, but she is on fire? I’m sure you should be helping her out with that instead of singing about it so calmly.

“Lonely like a highway” I wasn’t aware that objects had feelings and emotions. Next time I’m on a highway i’ll stop to say hi.

8

System Of a Down - Bounce Bounce! pogopogopogopogo bounce!

This whole song is about how Serj Tankian is trying to impress a girl with his Pogo Stick... literally.

Image: Flickr: Brainbitch

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9

Will.i.am feat Justin Bieber That Power

Straight after his release “Scream and Shout” featuring Britney Spears, Will.i.am has created yet another club song with absolutely no meaning. No one can even understand what he is saying in his verses. What on earth does “I done made that malley” mean?

Spoken aloud, this just sounds like a hillbilly trying to communicate.

7

Borgore ft. Miley Cyrus - Decisions “Bitches love cake” Do they though?

It’s quite offensive all over really, first you call women bitches then you assume that they all love binging on cake. Thats like saying all ‘dicks’ love hammering up dry wall and drinking beer.

6

Kelly Rowland Kisses Down Low

5

Unlike in her previous song “Down for Whatever” you don’t need to have a dirty mind to know what she is talking about.

“Nothing compares to when you kiss me down there”? Keep it to yourself, Rowland.

4

Nelly - Hey Porche “I’ll take you on the road” “Come on let me slide under so I can work on you” I’m not too sure what Nelly talking about for this whole song. What is he trying to link here here? Cars and women?

Because, I hate to tell you, but women are not like cars. It was just an easy hit so Nelly could cruise around in a Porche in the video.

2

Bruno Mars - Grenade At first, this seems like a romantic song, with a nice sentiment. However, if you listen closely, this song is just about how Bruno Mars would kill himself in various psycotic ways. He’s saying he would catch a grenade, throw his hand on a blade, jump in front of a train, and take a bullet to the brain.

News for you, Bruno, not all girls like the creepy ‘id die for you” approach, maybe you should stick to the regular, run of the mill, chat up lines.

3

Rebecca Black - Friday

Possibly the most annoying song in existence. The minute you read that title, the song was in your head, right?

It’s like a virus, once you’ve heard it, you can’t get rid of the Black Plague. We don’t care where you sit, just sit away from us.

Chris Brown - Wet the Bed.

Very unsurprisingly, Chris Brown has grabbed the Number Two spot for the worst lyrical disaster song.

No, its not for Let the Blunt Go which is also a disaster, but for the vulgar and offensive Wet the Bed. The lyrics make you feel dirty, and not in a good way. “Hear the sound of your body drip, drip, drip, as I kiss both sets of lips, lips, lips” gross. If we wanted to hear soft porn we would get the 50 Shades of Grey audiobook.

1

Beyonce - Bow Down Bitches

The one outstanding quality Beyonce held above everyone else has suddenly been shattered. She had a certain stardust by being the most famous woman singer in the world, and never shouting about it. Until now. Bow Down Bitches is horrifically offensive and disrespectful toward her fanbase. “I know when you were little girls, you dreamt of being in my world”. Not anymore Beyonce, no one wants fame to turn them as ugly as it’s turned you.

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Reviews Paramore ‘Paramore’

Tom Beasley

After the loss of Josh and Zac Farro, it looked like life was going to become very difficult for Paramore.

Robbed of part of the band’s DNA, it was difficult to know where the three-piece was going to go next.

This album, self-titled, feels like a statement. It’s the remaining band members making it abundantly clear that they don’t need the Farros to remain awesome.

Opening track ‘Fast in My Car’ is classic Paramore. It’s loud, bombastic and an awful lot of fun. It’s followed by standout single ‘Now’, which explicitly deals with how the band got over the split.

Lyrics such as “there’s a time and a place to die but this ain’t it,” make it clear that Paramore are here to stay in whatever form they can remain.

The rest of the album takes the listener on an extraordinarily varied genre through the oeuvre of a band at the height of their powers. It’s as if the turmoil of the band’s split has allowed for the reinvention of their style. They have emerged from the chrysalis of their split as a butterfly of a pop rock act with a remarkable range of material.

as

Paramore the album contains everything from rousing anthems such ‘Daydreaming’ to mellow love songs like the hugely powerful ‘Hate to See Your Heart Break’. Along the way, we also get perky pop tracks and a series of wonderful folkinflected interludes.

There is, however, an issue with all of this. Whilst this is a more spunky, imaginative Paramore than we have come to know, there is an identity crisis going on. Variety is exciting, but there are times at which this album feels a little like throwing every noise into the amplifier in the hope that some of it sound nice.

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Depford Goth

Imagine Dragons ‘Night Vision’

‘Life After Defo’

Ashley Chalmers - Reviews Editor Deptford Goth’s Life After Defo has a beautiful balance of vocal, elctronica and lyrical genius that hits you straight in the heart with every beat.

The third track ‘Life After Defo’ promotes an OK use of auto-tune that builds up textures and layers to match up with the soft electric vibe that pulses through the backing track. The huge drum beat that bounces in and out of the track contrasts with the softness and brings the entire song together, ensuring every quality is fine tuned. And the result? A well rounded track.

Every element throughout the album is considered and carefully thought of. Deptford Goth brings his music to the next level, and unlike many other sound-clashed electronica pieces, his entire album is an artistic masterpiece. His softly spoken vocals are like liquid gold, the metallic pulses in songs such as ‘Bronze Age’ and ‘Feel Real‘ are like diamonds that glimmer throughout the album.

‘Feel Real’ has an eighties feel, much like that of other electronica acts such as M83 and College, however it is intertwined with his breezy vocals and almost oriental chimes, bringing a whole world of unique in one track. The contrast of influences, from vintage synth to modern electronica is something that is prevalent throughout the record and is what makes it such a pleasure to listen to.

Perfect easy listening and an absolute gem of a debut album, Life After Defo needs to be in your possession.

Abi Brown Night Visions is the debut studio album by American rock band Imagine Dragons. It is an amazing album and all of the songs are genuinely good.

It is rare to find an album on which all of the tracks are decent, normally listeners can expect just a few but Night Visions is wonderful. Most of the lyrics are about the unpredictability of everyday life and creatively inspire listeners that some things are bigger than us.

‘Radioactive’ is the first track and it is a great way to introduce the album. It has been such a successful song that has been used on a variety of different trailers, for example in the Assassins Creed 3 video game trailer and for the film, The Host.

Quite a few individual tracks stand out. ‘It’s Time’ is a mid-tempo track, the lyrics insinuate a possible struggle and courage to get back up from it. The catchy tune is one of the most successful tracks on the album.

‘Demons’ is about struggling with your inner demons and pushing the ones you love away in order to protect them from yourself. ‘On Top of The World’ is a feel good song and the upbeat tempo can make all your worries fade away. It is a positive song that makes you want to dance away the pain.

Imagine Dragons have to be one of the best rock bands around. If you do not listen to the album, you are seriously missing out, the catchy lyrics and melody will have the songs stuck in your head for days.

Yeah Yeah Yeahs ‘Mosquito’ This album is really chilled out, but upbeat at the same time, it’s such a good summer album. It would be perfect on a long sunny drive with all of the windows down.

- Katie Pathiaki. Assistant Editor.

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Reviews

Daughter

Phoenix Bankrupt’

‘If You Leave’

Ashley Chalmers

Pauline L'etranger After series of EPs, London based trio Daughter has finally released their first fulllength album If you leave under the wing of 4AD records.

Daughter starts as a solo project of the talented Elena Tonra, a singer/songwriter from North London.

As a complement to her unique and sheer voice , later on Igor Haefeli from Switzerland and Remi Aguilella from France join the band. And as a trio they will leave you heart-aching in a cold winter night, mesmerized, in a quiet and painful introspection.

If you leave is an album that can’t be easily described. Through enchanting, delicate and ethereal melodies , a veneer of emotion is striving to get out of the “broken chest”.

The featured tracks will conquer you with their innocence and innateness, naivety and poetical despair. On the other hand, the echoing guitars will bring you the distance and ghostly dream-like atmosphere.

If you leave is itself a silent scream of a frail soul “watching the stars collide”. Every song has its own intimate story that you will find yourself into. Every song will probably haunt you in your dreams. And every song will leave you longing and longing, lost in the darkness.

This albums needs special attention. This album is for all of us restless, fragile spines.

Bankrupt!

By Frenchmen Phoenix is a pure joy to listen to.

It glimmers and glistens with synth, bringing an electric energy that is set to put a smile on your face.

The first track on the album is the beautifully catchy ‘Entertainment,’ with it’s upbeat, quirky riff that hooks you in from the first second.

The entire album has sneaky undertones of eighties synth pop and carnivalesque charm that when pulled together, create a perfect summertime record. Big drums and intricate synth-work compliment each other perfectly creating new dynamics that are so pleasing to the ear.

‘S.O.S In Bel Air’ is mesmerising, with different segments of the song having their own unique qualities. A galloping bassline, smooth vocals and the surging synth that ties it all together. The great thing about this album is that it’s extremely easy to listen to. Sit back, relax, chill on the beach… or in a cocktail bar necking mojitos… this is the album that should accompany you.

The album unfolds into a trance of synthesising wonder as it reaches ‘Bankrupt!’. A shower of electricity; it is a mostly instrumental track that sounds almost intergalactic at the start until Thomas Mars’ vocals come creeping in, taking the song in a slower, new direction. His vocals are a dream, clean and boyish, contrasting perfectly to the sharp and edgy backing track. ‘Don’t’ sounds a bit more like material from their earlier album Wolfgang Amadeus, rock and synth rolled into one.

Bankrupt! Is smooth, energetic and definitely an album to reckon with in the up and coming summer months. An effortlessly cool triumph from Phoenix.

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The Summer Set ‘Legendary’ Sam Lawrie The Summer Set are one of the latest pop-punk bands to emerge onto this ever-growing scene.

Having toured with the likes of Mayday Parade and All Time Low, they are really getting their name out there and their latest album, Legendary, hopes to cement the band among established giants of the pop-punk world.

The Summer Set have always been more pop than punk, and this certainly hasn’t changed with the latest album. Songs such as ‘Happy for You’ and ‘Jukebox’ could easily be played on the radio alongside current chart-toppers, and ‘Lightning in a Bottle’ verges on One Direction-esque. Then again, you wouldn’t expect a 1D track to include lyrics such as “Don’t give a fuck about tomorrow,” which is a probably a deliberate move on The Summer Set’s part, for that very reason.

However, there are also some different sounds in Legendary that The Summer Set haven’t really experimented with before. Electronic elements flow throughout the album and, particularly in the opening track ‘Maybe Tonight’ and ‘Jukebox’, electro beats are the backbone of the song.

Although it’s always interesting to see a band develop, these songs fail to pack a punch in the same way that past songs such as ‘Chelsea’ or ‘Punch-Drunk Love’ do. Of the twelve tracks on Legendary, none play with new sounds quite like Rescue. Listen closely- the rhythmic beating of the drums and the chorus of voices singing in unison hint at some sort of African tribal music. Now that’s

variety!

But don’t worry, there’s no reason for fans to fear too much change from Legendary. Songs such as ‘Fuck U Over’ are similar to The Summer Set that we know and love. The cheeky, light-hearted lyrics and the upbeat rhythm of the song show that the fun-loving side of The Summer Set isn’t going anywhere.

A couple of tracks on the album, such as ‘Legendary’ and ‘Someday’, are honest, ambitious and inspiring. They are some of the few The Summer Set songs that can potentially hit an emotional nerve. But if the band take too much of a serious route with their music, they could alienate some of their loyal fanbase- and that’s something The Summer Set would never do. Songs such as ‘7 Days’, ‘The Way We Were’ and ‘Happy For You’ describe the emotions of young people and young relationships, which is something that a lot of The Summer Set fans might relate to.

Legendary may not be the perfect word to describe this album; it probably won’t go down in history as one of the great musical masterpieces.

But it’s good. Great, in fact. The Summer Set are a bright new spark for the pop-punk genre, and this album hints at many more pop-filled treats to come.

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Reviews

New Kids on the Block ‘10’

Owens Lee Pomeroy once said that ‘nostalgia is like grammar lesson, first you find the present tense, but the perfect’.

Elly Rewcastle -Editor past Somebody else also said that nostalgia was like a double edged sword. Both of these probably make no sense unless you’re given an exciting new throwback to the 90’s thanks to “10”, the new release from boyband royalty, ‘New Kids on the Block’. Since their reformation in 2008, the 90’s pop heroes managed to scrape together one album upon their return and then burrowed back into the hole of wence they came.

With boybands from the past making huge comebacks, Take That anyone? It’s a surprise that New Kids didn’t really make more of an effort to make their second comeback release something spectacular, bearing in mind that the now much

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older kids have waited since 2008 to give patient, and now much older, fans another record to love.

“10”, released five years after ‘The Block’, however, certainly isn’t innovative in the slightest. Rivaling Take That in the boyband comeback battle, you’d think NKOTB would pull something better than an outside written album.

It’s surprising that the best tracks on the album, ‘Survive You’, ‘Tonight and Take Your Breath Away were penned by British superstars and X Factor runner up’s, JLS, whose own lyrics are known to be oddly similar to 1950’s musicals, (although not anymore- see news for a bit on the JLS split rocking the teenage nation) This month, however, not only saw the release of this brand new album but perhaps the beginning of break-up number two, as vocalist Jonathan Knight left the stage mid-set when the band played in New York. Are New Kids on the Block now just an old tale?

Michael Buble ‘To Be Loved’ Sam Lawrie Pop’s smoothest crooner Michael Bublé is back with new album To Be Loved, a combination of original songs and cover versions.

To Be Loved features four original Michael Bublé tracks. ‘It’s a Beautiful Day’, the album’s debut single, is a classic Bublé hit. It’s upbeat songs like this one that people love. ‘It’s a Beautiful Day’ and ‘After All’ are both similar to his past happy-go-lucky hits like ‘Haven’t Met You Yet’ and ‘Crazy Love’, with the latter shaking things up as rockstar Bryan Adams contributes to the vocals.

‘Close Your Eyes’ and ‘I Got It Easy’ have a more serious note than we’d expect from the charmer, but they don’t stray too far from his distinctive crooner sound.

Aside from these four, the rest of To Be Loved is comprised of cover versions. As a society that are constantly looking for the next best thing, we like to see what exciting changes a new artist has made to an old song.

What flavour does Michael Bublé add to these timeless classics to spice them up? None, is the unfortunate answer. The majority are carbon copies of the original hits. In the case of ‘Somethin’ Stupid’, featuring the pleasant addition of actress Reese Witherspoon, sticking with the classic is probably for the best. Frank and Nancy Sinatra’s version of the famous love song is so well known that any cover versions have dared to only make the slightest of alterations. However, tracks such as ‘To Be Loved’, ‘You Make Me Feel So Young’, ‘To Love Somebody’ and ‘Come Dance With Me’ are almost indistinguishable from the originals, and fail to ‘wow’ the listener. The odd one or two cover versions have moved away from their original counterparts, such ‘Have I Told You Lately That I Love You’ being a million miles away from the original country classic. Both Michael Bublé and Randy Newman have such distinctive voices that ‘You’ve Got a Friend in Me’ is inevitably somewhat different too.

People might struggle to get their heads around To Be Loved- is it an album of old-fashioned covers or modern originals? Having both on one disc just doesn’t quite hit the ear right. No other artist would get away with bringing out such dated versions of songs as Bublé has in To Be Loved, but somehow he gets away with it- just! There’s no doubt about it though, loyal fans will love this album.

Kurt Vile ‘Wakin On a Pretty Daze’ Jack Mckeever Introducing Editor Over the course of 4 albums Kurt Vile has slowly garnered the air of one of the classic cult American songwriters about him.

Blogosphere hyped has surrounded him almost since the beginning, yet his music feels idiosyncratic, like a secret, bliss- ridden world locked away reserved for those who bother to look.

Between these idiosyncrasies however is a very universal appeal, and that’s something that Vile and his band The Violators expose in abundance on “Wakin On a Pretty Daze.” Vile, a musical disciple to the lieks of Tom Petty, indulges in both the ability to write an anthemic, euphoric pop song, such as the lead- off single “Never Run Away” or the soaring but less resounding “Snowflakes Are Dancing”, as well as long, expansive and engulfing 7-10 minute pieces which never lose focus but lure you into a virtuosity drenched haze. Best of all though is “Air Bud”, a sun- kissed voyage into lucidity that doesn’t outstay it’s welcome and will be a nearperfect accompaniment lazy Sunday afternoons this summer (provided we get one).

Kurt Vile has not only proved his song crafting worth on this album, but it’s also the album that should be sound tracking your summer.

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Reviews

One Republic ‘Native’

Ashley Chalmers It was the Summer of 2007, and ‘Apologize’ was on everyone’s lips. The pure heartfelt emotion, mixed with the creative genius of Timbaland set OneRepublic galloping into a future sunset of hit albums, feel good tunes, and pure appreciation for Ryan Tedder’s beautiful, beautiful voice.

Their third record Native is full of catchy, toe tapping beauties much like their previous two albums. Unlike the others however, Native is edgier, bringing in elements of electronica, folk, soul, indie and almost every other influence in between. Now with a description like that, it could be mistaken that Native is a mess, the reality however, is far from it. It is vibrant, clean and an absolute pleasure to listen to.

The introductory single ‘Counting Stars’ is bold and catchy with folky elements that we haven’t yet heard from the band. The song draws similarities to Asif Avidan’s ‘One Day,’ however it’s catchy chorus and smooth vocals make the difference clear and distinct.

The anthemic ‘If I Lose Myself’ has a heartskipping, pulsating drum beat that leads you into a frenzy of wonder, as you are drawn into this elecronica synth instrumental and a damn catchy chorus that you’ll be singing in the shower for weeks. The inclusion of group vocals and clapping towards the last section of the song adds a new dimension making it all the more empowering.

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Tedder’s soulful approach to ‘Feel Again - With Heartbeats’ mixed with an up-tempo track uplifts you, raising your spirits as the song progresses.

One of the best things about the entire album is it’s feel good nature, however, I think OneRepublic have always been one of those bands that bring you out of the dredge that can be day to day monotony.

Taking it to the dirty south in the sixties, ‘Light It Up’ is distorted, bluesy and quite frankly, sexy. The almost awkward falsetto of the vocals amongst the dirty distortion, leading into a glorious synth cuddled guitar solo is quite the enjoyable ride, traveling from the old into the new, in a gleaming sonic time machine.

‘Can’t Stop’ sounds like an indie track you would probably hear amongst the hipsters in TopShop.

The massive electronica element and smashing drumbeat amplifies the song, allowing it to stand out against the other tracks surrounding it on the album. It showcases Tedder’s vocal range perfectly as he dips in and out of falsetto like it’s nobody’s business.

The album takes it down a notch with ‘Au Revoir,’ a more sorrowful tune amongst the others. The orchestral element of violins, added with the slow tempo and Acapella influence allows for the song to be sad in it’s own right, creating a moving, motion-filled track. True to OneRepublic’s nature there’s still the electronica element subtly glittering throughout, adding an undertone of hope.

‘Something I Need’ gets progressively livelier throughout it’s duration. It’s marching drum pattern could quite possibly be a subliminal motivation for you to get up and get going with whatever you’re putting off. The group vocals

are like a calling, inviting you to join in with it’s catchy and beautifully sweet chorus of “You’ve got something I need, in this world full of people there’s one killing me and if we only die once I wanna die with you”.

The album finishes with ‘Life In Colour’. It’s rhythm guitar rocks along with your heartbeat, gearing you up for life, exhilarating you and pulling you into a new, happier state. It’s one of those songs that make you embrace the life you live, taking in every moment and with every

James Blake ‘Overgrown’

Jack Mckeever. Introducing Editor.

When he released his self- titled debut in 2011, James Blake created the kind of stir around himself which meant he was pretty much proposed (by journalists) the title of a new visionary in electronica. The best thing about his debut though was that it left spaces and gaps for further experimentation, in a way a promise which “Overgrown” makes good on.

In reminiscence of his pre- debut EP work and in largely stark contrast to the overly emotionally dramatic “Enough Thunder” EP that came out last year, the compositions on “Overgrown” are full, swelling and expansive.

Whether it be the dormant bleepery- meetsstrings of the title track or the distant House vibes of “Voyeur”, everything has more to it, which is entirely it’s modus operandi. Best of all though are the collaborations. Wu- Tang Clan’s production figurehead the RZA spouts sensitive and desperate pleas of love over “Take A Fall For Me” and Brian Eno makes an appearance on the haunting, shuddering and paranoid rattle of “Digital Lion.”

It isn’t the masterpiece people would have hoped for, but it’s showing signs that it can get there, and in a more grown up and colourful fashion than the debut.

sense. It’s the perfect get-up-and-go track and as explosive as a firework in a grand finale. The perfect ending.

OneRepublic have always been successful in creating an album, with a song to suit everyone.

Native is the perfect motivational record that would beautifully accompany anyone’s journey of self-discovery. It encourages a positive mindset like an audible sunshine to brighten up your day.

The Tossers ‘The Emerald City’ Chris Fay Let me start by stating I love The Tossers and Celt-Punk. But in review of The Emerald City certain novelties must be put to the side. When we stop thinking of the genre as a novelty, this is an average album. Definitely on the good side of average, and even then average by this bands standards.

It is hard to stay fresh and exciting after twentytwo years of work, and that age seems to be seeping into The Tossers work. We have heard the songs before, in spirit, on previous albums, which is not always a bad thing. There was however particular lack of snarling piss and vinegar that I am used to from this band.

That said when looked at as a solitary album it does stand out. It’s an instant pleasure to listen to, with the bouncing excitement of a night on the town in Dublin City (even if they are from Chicago).

The title track pays homage to their ancestry and home, a staple of Celt-Punk. And after a night out of whiskey and stout, the perfectly titled Sláinte bids us farewell.

Definatly an album to pay attention to, if not the most original of their work.

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Reviews

Fall Out Boy ‘Save Rock and Roll’

Katie Pathiaki. Assistant Editor After a four year hiatus, and various solo projects, the legendary Fall Out Boy are back with a new album ironically titled “Save Rock and Roll”.

Without any actual Rock and

Roll.

Their first single to be released was “My Songs Know What You Did in the Dark”, a completely different angle from FOB; Patrick Stump was really stretching his vocal chords during the track, with obvious anger dripping from every word, hitting the high notes with ease.

It sounded so developed, so fresh, that the first reaction would have been “this is awful, Fall Out Boy are sell outs.” But after a few re-runs, there’s something special about this track: The lyrics clearly depict the fact that Fall Out Boy are moving on, and becoming a new band. They are leaving their old selves and styles behind, and creating a new era of “Rock and Roll”.

The second track released was “The Phoenix” which, strangely, sounds very similar to “My Songs Know What You Did in the Dark” ...

Patrick Stump is still angry about something, but not about the old FOB. Instead this song is a subtle cry to all of the “young bloods” out there who listen to ‘music’ which, honestly, isn’t music at all.

“I’m gonna change you like a remix. Then raise you like a phoenix” what FOB are warning the artists of today is, basically, that they are going to take all of the songs of today’s generation, change them and raise them with a better, deeper meaning.

Everything just goes downhill from here really.

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“Alone Together” is immediately drastically different from anything Fall Out Boy has produced before. This song is drowning with influence from Patrick Stump’s solo project “Soul Punk”, the track is overly electronic, with auto-tune in Patrick’s vocals, which judging from FOBs previous albums, he definitely does not need to aid him to hit every note pitch perfectly.

The track is overly happy, with a gooey sentiment about living every day to the fullest.

It even includes the cliché “we can stay young forever” line. There’s no denying it though, the song is damn catchy, and it will be stuck in your head forever.

“Just One Yesterday” is a direct example of what “The Phoenix” was warning us about. Sounding slightly like Adele - Rolling in the Deep, the song has been “remixed” and “raised like a phoenix”.

The lyrics have been adapted from a whiney love song about losing a love, to one about the same issue, but with beautiful metaphorical phrases to represent how he treats women: “Get them drunk on rose water, see how dirty I can get them, pulling out their fragile teeth”. Well done, FOB, you have for once on this album, ‘raised’ your opponents.

One thing that always stuck in my mind when thinking about Fall Out Boy was how powerful and different Pete Wentz’s lyrics used to be. Whoever wrote this album is a different person, in my eyes. “Where Did the Party Go?” does not interest me, or any of Fall Out Boy’s fans I can imagine, in the slightest. Whatever happened to the inappropriately long titles on their second album “From under the Cork Tree”?

As well as the title being dull, the entire song is too. Again, unnecessarily auto tuned, with a guitar riff that’s been manipulated to within an inch of its life, this song is so unappealing to listen to.

The same goes for “Miss Missing You” and “Death Valley”.

There’s no consistency to any of these songs, none leave a lasting impression, and it seems that FOB have just accumulated to the music that the charts want to hear today.

“Young Volcanoes” is a typical radio-friendly tune, there’s clapping, echoed singing, and lalalala-ing. It’s catchy and Summery, a song to get your toes tapping whilst you’re on the bus or listening in your car. But still, not Fall Out Boy as we know them.

This FOB is trying too hard to please and steal One Direction fans.

“The Mighty Fall” Feat. Big Sean is more like the old FOB we know and love, the entrance of Big Sean is very unwelcome, however. His verse does not fit the song in any way shape or form. The backing track does not match his lyrical flow, it sounds like two completely different tracks have been mashed together. Also, no-one has any idea what Big Sean is actually talking about. He is a completely pointless component to this song.

This seems to happen with quite a few tracks, too. The album is full of “feat. famous name” but it feels completely unnecessary to have them within the songs. “Rat a Tat” feat Courtney Love

is so difficult to listen to with her exclaiming “its Courtney, bitch” right at the beginning of the song, it feels like she is shouting at us in an extremely auto tuned, barely understandable voice.

I hate to say it, but the ever-exiting collaboration track; “Save Rock and Roll” with Elton John was a disappointment. Elton John, as always, sounds incredible, as does the raw, rugged sound of Patrick Stump. The back track is catchy and upbeat too. It seemed like this song had every ingredient to be an amazing layer cake of musical power.

But the harmonizing is wrong, Stump and John do not sound good together. And it pains me to say it, but the entirety of the four minute song is boring.

The old Fall Out Boy is truly gone, and it’s not for the best. The album is not at all rock and roll. It’s more electro-pop than anything else, thanks to Patrick Stump, I’m sure.

Bring back the ruthless, raw, heavy band who didn’t give a fuck about fame or money. They wrote what they loved, and that was that. If you didn’t like it, then too bad, they didn’t care.

Frank Turner - ‘Tape Deck Heart’ From his transfer from bellowing leader of underground shot- in- the- pan Hardcore icons Million Dead to the twang and poetry inclined troubadour he is today, Frank Turner has always been a quintessentially English songwriter. In what is perhaps a slightly audacious attempt to seal himself as this generation’s Billy Bragg, Turner’s left- wing politics and fist- pumping acoustic anthems have had people in awe and disgust… mostly awe though.

Frank Turner’s stark lyricism, although to some has always been his most crass trait, makes it incredibly easy for people to tap into any emotion his songs might contain. “Tape Deck Heart” may just be his most emotionally overbearing and miserable to date. All of which is fine… for 6 songs at least. But “Tape Deck Heart” is a record that thinks it has much more to say, and ultimately this is its downfall.

That’s not to suggest that Turner’s emotion is insincere. With the amount of belief and heartfelt emotion that he puts into “Tape Deck Heart” it would be unfair to deny that he is being serious.

However after a while, it’s all just a little bit much.

It starts off positively enough; “Recovery” is immediately one of the most profound tracks Turner may have written since going it alone. His poetic repartee slides well over a jaunty, layered

Jack Mckeever. Introducing Editor. backdrop, despite the fact it’s about Turner’s failure to return to normal life after the end of a relationship. “Plain Sailing Weather” traverses along a Biffy Clyro- esque structure and dabbles well in grandiosity, as well as being brutally selfdeprecating (“Give me one fine day of plain sailing weather, I can fuck up anything”). “Tell Tale Signs” depicts depravity via one night stands, self- harm and heartbreak (“You can’t just keep waltzing out of my life and leaving clothes on my bedroom floor”).

All of this is fine, but all too often Turner’s lyrics are as lacking as ever. It’s what leads to a potential downer on songs like “Losing Days”, which is a catchy song of “Wish”- era Cure ilk (yes, it does sound a bit like “Friday, I’m In Love)”, but is then drained by Turner talking about being scared before getting his first tattoo. He’s at it again “Tattoos” (guess what that one’s about…), in which he sings about being defined by his tattoos in an unfortunately juvenile way.

By the time the 7th track “Four Little Words” comes along, it seems like Turner has exhausted everything he has to say. He revisits his own personal clichés of one night stands and loneliness, and it takes until the final 5 songs for him to realize that “Tape Deck Heart” (at 18 tracks long) might see him reaching a bit thematically.

“Tape Deck Heart” is, in almost every sense of the word, and extravagance. An extravagance in Turner’s feelings and an extravagance in Turner’s unique brand of song writing. Unfortunately, only the most die- hard fans are likely to sit this one out.

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