Upset, December 2015

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– LIVE – DEC 2ND

BODEGA / NOTTINGHAM

DEC 3RD

NATION OF SHOPKEEPERS / LEEDS

DEC 4TH

GULLIVER’S / MANCHESTER

DEC 5TH

BROADCAST / GLASGOW

DEC 7TH

START THE BUS / BRISTOL

DEC 8TH

HARE & HOUNDS / BIRMINGHAM

DEC 9TH

100 CLUB / LONDON

DEC 11TH

THE HAUNT / BRIGHTON

‘ DREAM SODA’

The Debu t Al bu m Ou t Now: demob-ha ppy.com


PVRIS LET THEM IN

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EDITOR’S NOTE How can you tell 2015 has been a great year for music? Easy. This issue of Upset is bigger than ever before - there have been so many amazing albums and brilliant bands we’ve had to physically add pages to the magazine to fit it all in. From band of the year PVRIS (and it’s you that have awarded them that honour - find the Readers Poll results on page 56), to nearly 100 full-lengths that have made the last twelve months special, there’s loads to remember, enjoy and discover. Bring on 2016.

Sx

IN THIS ISSUE

RIOT!

04. LONELY THE BRAVE 08. LOWER THAN ATLANTIS 10. LA DISPUTE 12. BARONESS

ABOUT TO BREAK 14. YOUTH MAN 16. SLUTFACE

BEST OF 2015

18. PVRIS 27. THE BEST ALBUMS OF 2015 30. FALL OUT BOY 35. DEATH CAB FOR CUTIE 38. WOLF ALICENG 42. DONOVAN WOLFINGTON 43. TURNOVER 44. THE WONDER YEARS 48. HOP ALONG 51. TWIABP 54. TWIN ATLANTIC 56. READERS POLL RESULTS

FEATURES

58. AROUND THE WORLD: PHILADELPHIA

LIVE

62. VANS WARPED TOUR UK 64. FIDLAR + BULLY 65. FIGHTSTAR 66. THE FEST 14 69. LOS CAMPESINOS!

upsetmagazine.com Editor: Stephen Ackroyd (stephen@upsetmagazine.com) Deputy Editor: Victoria Sinden (viki@upsetmagazine.com) Assistant Editor: Ali Shutler (ali@upsetmagazine.com) Contributors: Allissa Williams, Danny Randon, Emma Swann, Heather McDaid, Jack Glasscock, Jade Esson, Jess Goodman, Jonathan Dadds, Kristy Diaz, Marthe Johannessen, Ryan De Freitas, Sam San Roman, Sammy Maine, Sarah Jamieson, Sarah Louise Bennett, Tom Connick, Will Richards All material copyright (c). All rights reserved. This publication may not be reproduced or transmitted in any form, in whole or in part, without the express written permission of Upset. Disclaimer: While every effort is made to ensure the information in this magazine is correct, changes can occur which affect the accuracy of copy, for which Upset holds no responsibility. The opinions of the contributors do not necessarily bear a relation to those of Upset or its staff and we disclaim liability for those impressions. Distributed nationally. P U B L I S H E D F RO M

THE BUNKER W E LCO M E TOT H E B U N K E R.CO M

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L O N E LY T H E B R AV E O N LY R E L E A S E D T H E I R D E B U T L A S T Y E A R , B U T T H E F O L L O W U P ’ S B E E N A LONGTIME IN THE MAKING… WO RDS : DA N N Y R A N D O N .

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IN THE STUDIO WITH...

LONELY THE BRAVE

T

heir 2014 debut album ‘The Day’s War’ propelled them into the Top 20 and onto festival main stages, but the rise and rise of Lonely The Brave has not been one void of meticulous planning or admirable patience. Having firmly established an identity defined by their gargantuan alt-rock hooks, the Cambridge self-professed ‘doom pop’ quintet have already cracked on with the recording of their second album.

“There hasn’t really been any pressure put on us to deliver a second album,” says drummer Gavin ‘Mo’ Edgeley. “Because we have toured so heavily in the last two years, we just didn’t have any time off, so when we did have a couple of weeks here and there, we’d be straight into our rehearsal room!”

G I B 016 IN

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Despite it being just 14 months since ‘The Day’s War’ first hit shelves, the conception of a second record was a milestone that Lonely The Brave endured in their peripherals for an excruciating length of time. Between the recording of their debut and its release, Mo recalls having to wait somewhere between “two to three years”, a window which saw the band marred by growing pains, but also handed opportunities which have boosted them to impressive heights, most notably contracts with both Sony Music UK and Hassle Records.

Reflecting on the eventual success of ‘The Day’s War’, Mo sighs with a hint of relief: “The wait was totally worth it in the end, if completely frustrating. We had so many problems trying to get the album finished that weren’t from our end, and then there was the complication of signing to Sony and having to push [the album’s release] back by three months, but there’s no way we’d change anything.”

“If we did change something, we might not have been in the position where we are now,” Mo chuckles. “We’re lucky boys really!”

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RIOT!

BLACK PEAKS ANNOUNCE DEBUT ALBUM Black Peaks have finally confirmed the details of IN 20 their debut 16 es‘ album: ‘Statu on ed will be releas 26th February 2016 via their new home, Sony Red / Easy Life.

BIG

“It’s difficult to try and summarise this record in a few words,” guitarist Joe Gosney tells Upset, ”but it’s important for people to understand that ‘Statues’ embodies a solid year of hard work and determination to break out of our hometown and show our music to the world. Darkness and passion, that’s what this record is.” The Brighton four-piece have just finished touring with Lonely The Brave, and have plans for a headline run early next year.

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Having been forced to sit on an arsenal of fresh material until ‘The Day’s War’ was rereleased with a bunch of bonus bits earlier this year, the band seem eager to unleash the first cuts of new material as a five-piece, after guitarist Ross Smithwick joined the line up (completed by guitarist Mark Trotter, bassist Andrew Bushen and singer David Jakes) last year. “‘The Day’s War’ was strictly written as a four-piece, but Ross has come in and put his stamp all over it. We’ve all got completely different influences: some of us listen to a lot of metal, some of us listen to country, and some of us listen to hardcore. The way that things come out is a completely organic process, and always has been.” Although the original incarnation of ‘The Day’s War’ was a straight-laced affair of sharp, simple melodies and soaring choruses, the Victory Edition re-release helped Lonely The Brave embrace the myriad of influences among them, through re-arranging some of their most renowned tracks. This is a creative process that has been employed in the recording of their second album, something which Mo explains is “definitely more of a progressive album” than its predecessor.

“There’s been a lot of time, effort and thought put into reworking the songs. There’s some electronic stuff on there, and some heavy, ballsy rock numbers with a more progressive slant, but at the same time it’s still us. [The progression is] something we could never get rid of if we tried.” Helping the band take the necessary steps towards sonic expansion is producer Ross Orton, recording the album in his Sheffield studio. Having worked with an array of British artists both culturally striking (M.I.A., Roots Manuva) and significant (Arctic Monkeys, Drenge), Orton’s divergent production history became a vital ingredient in the creation of this record. Through teaming up with Orton, Lonely The Brave found themselves in the company of a man who, much like the band themselves, has made rigorous efforts to avoid being pigeonholed as a producer who specialises in a single genre. “[Working with Orton] was 100% the right thing,” says Mo. “We went into the studio with what we thought were finished arrangements, and then we worked with Ross to make them the best that they can be. He is the most relaxed dude, and his work is so


diverse, which is exactly what we wanted from a producer. We didn’t want to go in with just a ‘rock producer’; it was the fact that he’s worked with M.I.A. and Arctic Monkeys that was just a massive fucking bonus to us. It was a bit of a curveball that nobody was expecting, but he knows what he’s doing so well that he was basically always right and we always agreed on everything. He pushes us hard but we get on really well with him.” With album two nearing completion, the time came in November for Lonely The Brave to head out on the road once more to bring the triumphant touring cycle of ‘The Day’s War’ to its eventual conclusion. With headline dates across the UK, Ireland, Germany and the Netherlands, it marked the end of a pivotal chapter for the band, as well as the opportunity to tease the next instalment of their epic saga. “It’s good to be out there playing new material,” Mo reports mid-way through the tour. “We have to keep moving and that’s why we’ve done this tour. You can’t win all of the time, because some people want to hear all of the old songs, and some want to hear the new songs, so it’s trying to find a happy medium. The new songs are being road-tested for us to see the response, and to get tighter at playing them!” Looking ahead to the new year, Mo is hopeful of completing the album in time for a summer release. “It’d be fair to say at this point that the album is done, and it’s going to be a much quicker process this time around.” With that bittersweet threeyear wait firmly behind them, Lonely The Brave are far from losing any momentum. “It all seems to come together after a lot of hard work,” assures Mo. “It’s going to be different, and it’s time for us to step up.” P Lonely The Brave’s second album will be released in 2016.

NO LIMITS TO N I G H T A L I V E RE AC H FO R T H E S K Y.

After months of waiting, Tonight Alive have announced the details of their third studio album. It’s called ‘Limitless‘, it’s out March 4th 2016. ”We tore away every formula, structure and safety net we knew to embrace a complete unlearning and evolution. This record shares our journey of harnessing personal power and acts as the long awaited answer to the questions of our previous records,” explains Jenna McDougall. The band kick off a world tour in January, taking in Australia, Europe, UK and America.

NEED TO KNOW... DO YOU WANNA GET HIGH?

Weezer don’t have a record deal anymore. That means Weezer are doing exactly what they want; releasing a couple of tracks just because they can. Hear ‘Thank God For Girls’ and ‘Do You Wanna Get High?’ now on upsetmagazine.com.

THE UK HAS ISSUES Yep, with a new album to drop next year, Issues are heading to the UK for their first headline tour on our shores. Kicking off in Cardiff, they’ll also play London, Manchester, Glasgow and Southampton before heading off to mainland Europe. Find the full list of dates on upsetmagazine.com.

BIG CREEPS

Our faves Creeper are heading out on a headline tour early next year. Between that and their major league support slots with Neck Deep, they’re playing pretty much everywhere. You can find a full run down of where to find them on upsetmagazine.com.

AHOY MATEYS! CHVRCHES, LIGHTS, NEW F O U N D G L O RY. . . T H E L I N E U P F O R PA R A M O R E ’ S S E A B O U N D F E S T I VA L I S O U T O F T H I S WO RL D.

Paramore‘s now annual cruise, PARAHOY has confirmed its full musical line up and it’s a doozy: CHVRCHES, New Found Glory and Lights will be joining the four-day cruise sailing from Miami to Cozumel, Mexico from 5th - 9th March. MewithoutYou, X Ambassadors and Vactioner are also playing the floating festival, alongside Paramore’s two sets.

THRICE IS NICE

Good news everyone, Thrice have shared an oh-so-subtle hint that they’ll be releasing a new album next year. Posting an image stating there’ll be a full length in 2016 on their Twitter, the band haven’t released an album since 2011’s ‘Major/Minor’.

WAY TO GO

Gerard Way is working on the finale for ‘Hesitant Alien’. “This week I get to finish ‘Don’t Try’ and ‘Pinkish’ for a special release we are working on. Will be a nice way to close the HA chapter!” he tweeted. “You guys wanted those songs so I’m making it happen.”

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RIOT!

“IT’S A NICE BIG ‘F**K YOU’ TO ANYONE THAT WROTE US OFF”

AS LOW E R T H A N AT L A N T I S W I N D U P T H E I R S E L F -T I T L E D A L BU M , M I K E D U C E I S TA K I N G N O P RI SO N E RS . WO RDS : JAC K G L ASSC O C K .


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t’s cliche to say that a band have had a year filled with ups and downs. But, it’s also cliche for a reason, which is a statement that, in itself, is now becoming a bit cliche. Is that too much? Let’s give this some context. Lower Than Atlantis were written off by many after being dropped from their major label, Island, on their last album. Pair that with what many would consider to be a pretty major change in direction with the release of their self-titled return, and it’s not likely that you’d put your money on them making it through what is a very difficult age to be in a band. Fortunately, Mike Duce doesn’t care. The outspoken frontman seems to think that their eponymous effort went down pretty well, and with good reason. “It’s without a doubt been our most successful album,” he states without hesitation, before reeling off his reasoning. “Critically it’s the most well received, the shows are bigger than ever, it’s sold more than all of our other albums combined and it’s been kicking off at radio and TV,” he says, before adding “not that we give a fuck about things like that.” Asked how accepting he thinks their fanbase are of their chosen musical direction, he fires back: “Our first album, ‘Far Q’, was about being broke, being sad and being angry. I’m still most of those things, but it’s a very negative album and it seems to just be the people who like that album who are outspoken and rude, not all of them obviously, but those people a lot of the time are the ones that are like ‘oh you’ve sold out, play ‘Far Q’ again’,” quotes Duce with a sense of sarcastic disdain. “But it’s mainly just a handful of people.” “The definition of selling out is ‘compromising artistic integrity in order for financial gain’,” he states, as if it’s a topic that the band have been called up on a fair few times. “We haven’t compromised anything. We like all types of music and loads of people are very narrow-minded, you know, saying ‘rad’, carrying skateboards and wearing hats backwards, which is a fad. We’re not a fad band, so they can fuck off anyway. With every album you pick up new fans and lose some fans. You can never please everyone. So just do what you want to do and if people like it, cool, and if they don’t, they don’t have to listen to it. They can go listen to Neck Deep or whatever they like.”

“I HAVEN’T SPOKEN TO ANYONE ABOUT THIS, BUT YEAH I THINK HEAVY IS THE WAY.” But he’s not afraid to point the gun at himself either. On a retrospective look at the self-titled album Duce says, “The only thing I would change is that a few of the songs on there weren’t necessarily for this band. Like I’d written them for other artists, maybe boy bands and stuff like that. I don’t think a couple of them really fit; your ‘Emily’s and your ‘English Kids In America’s. I think they’re great songs, but maybe the album could have had a more cohesive feel and they sort of detract from that; but it’s still good.” This is the first glimpse into what could be the next chapter of Lower Than Atlantis. Are they looking to go down that route in order to achieve a cohesive sound? “Not even man! The best-received song is ‘Here We Go’. It still goes down the best live, it’s the most fun to play live and it’s probably the heaviest on the album. Second to that is ‘Criminal’ which is heavy and ‘Get Over It’, which is a like a drum and bass song essentially, but it’s pretty heavy too. So I think that’s the direction we’re going to go in.” “I mean I haven’t spoken to anyone about this,” Duce remembers to add cheekily, before dropping himself and his band mates in it. “You’re the first person, but yeah I think heavy is the way.” Luckily he doesn’t have to have that conversation quite yet. There’s the small matter of a Deluxe release of their recent album to deal with first, ‘Lower Than Atlantis – The Black Edition’. “Basically, when the album was released there was a physical version, an iTunes version, an Amazon version and they all wanted bonus stuff. It’s really annoying because when we release B-sides and bonus tracks they’re as good as the songs on the album. We always put 100% effort into writing songs; all songs. We never

go ‘oh that’s a B-side, don’t worry about it’. We don’t do that. So it was a shame that a few of them got lost. Since the album came out we’ve done a couple of Live Lounges, so we wanted those to go somewhere with the bonus material. Then we thought if we were going to release it we might as well record some extra stuff.” That extra stuff includes a cover of ‘Strong’ by the one and only Robbie Williams. Who saw that coming? “It sounded to me like an LTA song already for some reason; I’ve always thought that. That’s why I picked it. I knew we could turn it into something if we took away the acoustic guitar and, you know, ‘rocked it up’ as your dad would say. Lyrically as well it’s basically my life.” Yet this is still all before thoughts turn to the album cycle being end-stopped by the band’s biggest UK tour to date, including a show at London’s iconic Roundhouse, and they’re as excited as you’d expect them to be. “Yeah that’ll be sold out any day now, which I was worried about to begin with. We didn’t think we’d do that at all,” Duce admits. “I hate that in the UK rock world, if you don’t sell out your London show you’re deemed as a failure,” Duce adds bitterly. “That really pisses me off because the people that deem you as a failure couldn’t sell out their fucking birthday party. We are going to sell it out. It’s a great achievement for everyone that works with the band and for us ourselves. It’s also a nice big ‘fuck you’ to anyone that wrote us off when we got dropped from Island on our last album campaign. So it’s going to be a great big happy ‘fuck off’.” Is there any other way you’d expect Mike Duce to finish this? P 9


RIOT!

ROOMS WITH A VIEW T H I S M O N T H , L A D I S P U T E W I L L RE L E AS E T H E I R F E AT U RE- L E N GT H D O C U M E N TA RY, T I N Y D OTS .

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hen you look back at 2015, it’s been an admittedly quiet year for La Dispute. They’ve had a lot of time apart and not been quite as relentless in work as in previous years. But, as Adam Vass notes, “It’s nice to have a little reset occasionally and get back together feeling fresh and excitable again.”

“The DVD was originally conceived as a performance piece,” explains Adam. “We were going to do alternate 10 upsetmagazine.com

“But as we started dealing with the logistics of that, and Niall [Coffey, the director] joined our tour getting footage of shows and us backstage and stuff, the film transitioned from a performance to a documentary.” Without delving into a pointby-point breakdown of their documentary, one thing rings out clearly: the community of fans they’ve built up. While the release itself is one that will give fans an opportunity to immerse themselves in the world of La Dispute as they tour, it also begins with their stories. It seems that the ultimate

“This was a very gratifying part of the film, and one I didn’t see until I actually was getting drafts of the documentary. It was a pleasant surprise, and it’s always nice to be reminded that your work doesn’t take place in a vacuum, it has power to influence people or illicit an emotional response, which was one of the many reasons we write songs to begin with. It’s validating to know people receive our work in such a powerful way.” But with the good comes reality, and it’s one element La Dispute don’t shirk as they progress. The road can be relentless, and a social life at home can be compromised by spending most of the year in all corners of the globe - it’s all about finding a balance. “I am certainly no expert on finding that

balance,” he admits. “I have had to very actively seek that happiness. It’s easy to be lazy. “I’ve been focusing on doing at least one thing per day that makes me happy, whether that be working on my personal work, finding a nice coffee shop, or spending time with someone in town I wouldn’t ordinarily get to spend time with. Those moments help me break up some of the monotony of tour and keep me from falling in a rut, one that I and the others have fallen in many times before.” ‘Tiny Dots’ captures La Dispute on the road, but with lots of other pieces brought in to complete that full picture. It’s fun, it’s emotive, and it’s a must for fans of both the band, and music in general. For anyone who has ever gone to a show and lost themselves in the music, the atmosphere, or even just the crowd alls with one shared love, this is a celebration of music and the journey it can take you on. P La Dispute’s documentary ’Tiny Dots’ will be released on 4th December.

WO RDS : H E AT H E R M C DA I D.

One thing that can perhaps fill the La Dispute shaped hole in many a fan’s life these last few months is the release of their new DVD, ‘Tiny Dots’. The feature-length release takes viewers on the road alongside them, but began as entirely different concept following the release of 2014’s album ‘Rooms of the House’.

arrangements of all of the ‘Rooms’ songs, and a smattering of older tracks, each played in different locations or with different instruments or what have you - basically reimagine all these things in new context.

dream in creating music is to build a connection, so as the footage begins with several fans telling their own stories, it’s a nice way of welcoming you into the little world La Dispute have created. It’s a passionate one, with the kind of vibe that most music lovers will recognise.


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£2 P E R M O N T H , W I T H N O M I N I M U M T E RM , AT U PS ET M AG A Z I N E .C O M RI G H T N OW. W H AT A RE YO U WA I T I N G FO R ?

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RIOT!

PURPLE REIGN BA RO N ESS H AV E B E E N T H RO U G H M O RE TO G ET TO T H E I R FO U RT H A L BU M T H A N M OST, A N D T H EY ’ RE C H A M P I N G AT T H E B I T. WO RDS : A L I S H U T L E R .


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“I don’t think I was ever as confident as I am now,” admits Baroness’ John Dyer Baizley. ‘Purple’ might be the band’s fourth album in a twelve-year career but they’re finally at a point where they can say, “Yeah, I’m fucking excited. I’m super stoked.” It’s an attitude mirrored by guitarist Pete Adams, ”We’re ready for it to be released. I’m not nervous, I just want it to be out,” and it’s that assured adventure that gives ‘Purple’ its hard-hitting charm. “We wanted something more up-tempo and aggressive. I think it was in order,” explains Pete, but for all of ‘Purple’’s swinging fists, there are moments of lush refrain. “If we’re doing something that’s really hyped or aggressive, we like to follow that with something that’s more open. If something’s harsh, you have to follow that with something that’s a little smoother. It’s a conscious decision but it’s also just good songwriting.” “The idea’s pretty simple,” when it comes to writing songs in Baroness. This time around the band nurtured their ideas individually, allowing them the space to flow before coming together as a unit and working them through. The result is an album that weaves with a fierce, free-flowing determination. “The execution is difficult because we want to write quality music. If everyone’s excited by it, if everyone likes what’s going on and starts to feel it, then we’re doing something right. It’s a very simple idea but to get four people to write a refined record, more focused and much more energised, we had to throw away the ideas that were good and keep the ideas that were great.” The run up to ‘Purple’ was a turbulent time for Baroness. Drummer Allen Blickle and bassist Matt Maggioni stepped down from the band and were replaced by Nick Jost and Sebastian Thomson, which led to a notable change in dynamic. “There’s this new energy that the band has. This energy is super positive, there’s no negative energy,” starts Pete. “We’re all relatively fresh into this relationship so let’s enjoy these golden years. Let’s enjoy the early moments of this new found relationship while it lasts.”

Focusing on what was working, rather than worrying about what wasn’t, they refused to let their situation cast a shadow over their band. Instead, they busied themselves on making the silver lining shine. “This band is a collaborative effort. The communication now is more open than ever and I think everyone is real respectful of each other,” says Pete. “We got this injection of something new that you don’t always get as a band, where the energy level goes back up to where it once was. Not saying that Baroness had lost this love but let’s face it, the crash is what took the wind out of the sails, that’s what we’re talking about here. To come out of that with this new positive energy, that’s awesome. You just harness it and roll with it.” “Considering the past couple of years, and the length of time between records, it makes sense to put out a record that’s high energy so people don’t question whether we were impacted by that bus thing,” John explains, referencing the crash that hospitalised all four members of the band alongside their crew in August 2012. It directly led to both Matt and Allen standing down from Baroness and kept the band off the road for nine months. “Look, we can still play hard. I think it’s good to prove that and it fit the attitude of the writing sessions, so yeah, it’s a much more direct album.” The accident affected them as a band and as individuals but ‘Purple’ doesn’t wallow in it because John and Pete, “are not dwelling on that.” “We would consider it slightly tacky or in very bad taste if we tried to capitalise on that. It was a pretty specific, pretty big thing that happened to us and I don’t want anybody to feel like we’re trying to market that, and capitalise on that and make that something that’s worth something,” explains John. “We really just don’t want it to define the

RATED BARONESS PURPLE

Abraxan Hymns

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.DARK BUT DIRECT. ‘Purple’ earmarks a change for Baroness. While it’s not massively far removed from their previous trajectory, there are a lot of firsts. This is their first since their near-brush with tragedy as their tour bus fell from a viaduct and left many injured; the first since drummer Allen Blickle and bassist Matt Maggioni left; the first on their own new label, Abraxan Hymns. It seems like the band have a newfound focus. ‘Chlorine and Wine’ is a seven minute epic that sees hypnotising, twinkling pianos bleeding into airy guitar, cranking up slowly until it bursts into optimism with prime crowd sing-a-longs. ‘Try to Disappear’ both sludges and soars in a weird mix, while ‘The Iron Bell’ is punchy and ‘If I Had to Wake Up - Would You Stop the Rain’ strips it back. On their ‘Yellow and Green’ double album they’d take you on an exploration as they themselves tried a lot of new things under the Baroness umbrella. ‘Purple’ isn’t so much the tour guide, it’s the tour. It feels more direct; they’ve managed to overcome a personal roadblock in making this that they themselves admit “would have seemed impossible to us a couple of years ago,” and while there are dark lyrics at play, it remains an enjoyable listen. Heather McDaid band,” adds Pete. The band was a thing for ten years before the accident and now, three years on, they’re about to release an album that further adds to that heavy legacy. The ten tracks that make up ‘Purple’ continue to mark Baroness as a band impossible to pin down. It makes sense then, that with this record, the focus is the music. P

“WE WERE F**KING EXCITED, SO THE RECORD SOUNDS EXCITING.”

Read the full interview on upsetmagazine. com. Baroness’ album ‘Purple’ will be released on 18th December. 13


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THE BEST NEW BANDS TH E H OT TEST NEW MUSIC

YOUTH MAN T H I S B I R M I N G H A M N O I S E - P U N K T R I O H AV E P L A N S O F E P I C P R O P O R T I O N S . WORDS: JESS GOODMAN.


“WE SET OUT TO BE THE F**KING WEIRDEST BAND YOU’VE EVER HEARD. AND WE WERE. AND IT WAS SHIT!”

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Returning from a tour across Germany, Youth Man are in high spirits. “It was mad,” Marcus Perks exclaims. “I’d been wearing a t-shirt for two shows, and it was so hot in the venue I had to take it off.” Miles Cocker recalls, “It was absolutely soaked. I threw it to the side of the stage, and these two girls started having a proper fight over it. I was looking at it, going EURGH,” he laughs. And it’s not just the fans that seem crazed over the band. “On the last night we all went out and had a bit of a blowout,” Marcus chuckles. “We’d told the guy at the venue we’d be up at 9am for breakfast, then when we came downstairs at about 11 he’s bringing loads of trays of freshly baked bread out. We realised that to keep it warm he’d been cooking batches since 9am and waiting.”

FACT FILE Band members: Kaila Whyte (vocals / guitar), Miles Cocker (bass) and Marcus Perks (drums) Hometown: Birmingham (UK) Formed: 2012 Signed To: VENN Records What does label boss Laurent “Lags” Barnard think? “Youth Man are as real as it gets - thrilling and uncompromising.”

Hailing from Birmingham, with their unique brand of post-punk ‘heavy jazz’ and live shows, the trio have no trouble attracting the attention of fans and admirers worldwide – including those of Venn Records, who announced they’d signed the band in late October. With a record deal in the bag, an EP in the pipeline, everything seems to be driving forwards. The group have come a long way to reach this point. “When we started three years ago, there was me, Marcus, and another guy,” Kaila Whyte describes. “We thought we were musical prodigies. We set out to be the mathiest, heaviest, fucking weirdest band you’ve ever heard. And we were. And it was shit!”

“When Miles joined it all made a bit more sense,” she continues. “Before, we were putting stuff in for the sake of it – trying to be different. Now we’re not really trying to be anything. We’re just trying to bring out of ourselves what is already there to be brought out.” Finding their form amidst a haze of influences, Youth Man are finally paving their steps towards success. “I can’t remember what it was like before I was in a band,” Kaila states. “For me and Marcus, it’s our first proper band.” “It’s probably quite dangerous really,” Marcus contemplates. “You know like a kid that’s never been told no? Maybe we’re that.” Already having graced stages at festivals, Youth Man are fast rising through the ranks. “When you first hear that you’re doing it, it’s all really exciting,” Miles states. “Then by the time it’s sunk in, and even more so by the time you’ve done it, you want to know what’s next.” Indeed, the three-piece have no shortage of future plans. “If everything comes together, and if we write and tour in the right way, possibly an album,” Miles enthuses. “You didn’t tell me about this!” Marcus exclaims. “Miles has got a secret album that he’s written.” “I think it’s a natural progression,” Miles explains, “that the EP that’s already in the pipeline would be the lead up to a full-length. “The plan is more records and more touring until we can be taken seriously enough to not have to have other jobs,” he closes. “And then I can buy a helicopter and a pet tiger,” Marcus adds. “If I was your pet tiger I’d bite your dick off,” Miles counters. “Why would you not just eat the whole body?” Marcus queries. “Because I’d let you live, just without a penis,” Miles grins. “I don’t think tigers are that calculated.” Premeditated or not, Youth Man have forged a firm foundation for further successes. Provided they don’t maul each other apart first. P 15


AB OUT TO

B R EAK

THE BEST NEW BANDS TH E H OT TEST NEW MUSIC

E C A F T SLU HORES. R ON OUR S KING A STI L R E A DY M A A E R A T I F -ROCK OUT EGIAN POP WORDS: SAMM T H E N O RW Y MAINE.

16 upsetmagazine.com


“WE WANTED TO MAKE MUSIC PEOPLE CAN BOTH MOSH AND SING ALONG TO.”

O

n Slutface’s latest single, vocalist Haley Shea declares “I’d never shave my head for you!” whilst smashing up a cheap-as-heck Craigslist guitar and amp. Turning the world’s perception of ‘crazy bitches’ on its head, ‘Shave My Head’ is an unapologetic f-you to those that still perceive passionate and emotional women as hysterical messes. It’s a perfect introduction to the Stavanger-bred bunch, who class themselves as “fortuitously feminist” – with their name aiming to get the masses thinking. “It’s meant to be provocative,” begins Shea. “It’s meant to get people thinking about how we view women’s sexuality and the overly sexual way that women are often portrayed in the music industry. We are against ‘slut shaming’ and the general judgement that is passed on women’s bodies.” Inspired by the Riot Grrrl movement and punk from around the world, the four-piece also wanted their name to reflect those influences and so, Slutface was born. Growing up in the west coast of Norway, it was mostly hardcore and hard-rock bands that coloured the music scene, with heavy metal six-piece Kvelertak hailing from the very same place. “They were one of the biggest and most successful bands we have had to look up to,” continues Shea. “We wanted to make music with more of a pop sensibility; that people can both mosh and sing along to.” Although Slutface produce the kind of tunes that call for a raucous, the band’s recent support of the UK’s ‘Girls Against’ campaign showcases their passion for safe spaces at all of their shows. “Creating a safe space for women at punk shows was one of the things that Riot Grrrls actively fought for and it’s heart-breaking and not acceptable that things still haven’t changed for our

generation,” argues Shea. “I have been groped at so many shows, especially punk and hardcore shows, and it’s really important to us that no one feels unsafe in that same way at our shows. We want our shows to be a safe and fun place for everyone and encourage young women especially to stage dive and join the mosh pit because we have their back.” Juggling their university work with the ever-increasing responsibilities of the band has been more difficult than they had originally anticipated. “We’re all at university studying full time between touring and studio sessions… sometimes it gets a bit tough,” begins drummer Halvard Skeie Wiencke. “Not all of us are equally dedicated to our studies either and are more excited about listening to new albums than doing math assignments! We’re all going to be taking some time off school soon, so it will be less hectic.” They’ll certainly need that extra free time after working on fresh new recordings with Pixies and You Me At Six producer Dan Austen. With his studio located just outside of Aalesund in Norway, the breath-taking scenery didn’t deter the bout of sickness that struck the band half-way through the process. “Half of the band got nauseous out of nowhere and started vomiting halfway through the session,” remembers Shea. “One of the songs was actually recorded with a bucket in the recording studio. It was crazy!” Recording a mix of old and new songs, bassist Lasse Lokøy says to expect some of the usual pop-punk as well as a darker, “more mature” effort. “It is a wide range of songs, from rapid poppunk, to more Weezer-inspired tunes. We tried to make it sound bigger than the previous stuff, and we think we did. All credit to Dan for that. We are really looking forward to releasing these songs and seeing what people make of them.” P

NEW BAND NEWS BABY BABY BABY OH

Milk Teeth’s debut album ‘Vile Child‘ will be out on 29th January through Hopeless Records. The band - who played Upset’s launch party earlier this year - will head out on the road with Tonight Alive just after the record hits shelves.

FROM CAPLAN

Muncie Girls have announced their debut album: ‘From Caplan to Belsize’ will be released on 4th March, through Specialist Subject Records. The band have also unveiled a new track from it, ‘Gas Mark 4’, the video for which you can watch now on upsetmagazine.com.

FACT FILE Band members: Haley Shea (vocals), Lasse Lokøy (bass), Halvard Skeie Wiencke (drums), Tor-Arne Vikingstad (guitar) Hometown: Stavanger (Norway) Formed: 2012 Signed To: Propeller Recordings You what? The sound at the end of the band’s track, ‘Shave My Head’ is Tor-Arne “jumping up and down on, and absolutely destroying, this terrible cheap guitar.”


FOR LAR YEAR P E C TA C U BEEN A S E AT E S T R S A G H E 5 H 1 T 0 2 HAS - ED), O T O N LY S, STUPID MUSIC. N T H AT ’ S U D RRIVED ( N A A R S E D V E N E NEW BA M AG A Z I N . ILLIANT A D. OV E R E HAD BR O V L ’ E T E W K T C U B HE BU F U M S BY T B O L E A M G O N S I AMAZ L RECA P ES, WE’L F E W PA G THINGS THE NEXT OU A FEW Y D N E M COM E R D N A . , MISSED THE BEST H T H AV E YO U M I G

T

hanks for letting us get weird,” smiles Lynn Gunn as she steps behind the camera to fetch some more candles. A debate about lighting them and getting wax on the studio floor is quickly extinguished when the band, Alex Babinski, Brian Macdonald and Lynn, offer to clean up any and all mess. Defiant to

22 1 8 upsetmagazine.com upsetmagazine.com

the last, PVRIS are a band with a vision. From the electro-soaked dreamland of debut album ‘White Noise’ through each and every one of their live shows down to the entirety of their merch, it’s a vision that is wholly theirs. No shadowy figure behind the scenes, PVRIS is the brainchild of the three people in the spotlight. This year, their vision has shone. In 2015 alone the band have played over 150 shows and next

year, with dates lined up with Fall Out Boy alongside their own headline tour, doesn’t look to be any quieter. “We’ve got most of next year booked up,” Lynn offers, casually. PVRIS, raised on a diet of hard work, are more than happy to put the hours in to have their music heard. It’s the reason 2015 has belonged to them. It’s the reason why their ascent shows no sign of slowing. It’s the reason that when PVRIS talk about being one of the biggest bands in the world,


LET THEM IN

you nod in agreement. Since the release of ‘White Noise’ near the close of 2014, PVRIS’ journey has been incredible. Their world: gritty, soaked in hurt but unrelentingly hopeful, has taken them from unknown, through the treacherous worlds of buzz and hype and out the other side. They’ve risen to every challenge thrown their way with style. Their grand vision is becoming bigger and more encompassing by the second. As sudden

as their rise has been, the trio have been preparing for it since they were in school. Alex and Brian started playing in bands when they were in their freshmen year while Lynn got involved during her junior year of high school. “We all played in metal bands,” says Alex. “I had to get that anger out somehow,” offers Lynn, while Brian describes his early foray into music as, “just a bunch of

SINCE DROPPING THEIR DEBUT ALBUM LAST NOVEMBER, HAVE BEEN HEADING TO THE TOP AT WARP SPEED. WITH A MASSIVE UK HEADLINE TOUR TO COME IN 2016, ALI SHUTLER GETS UP CLOSE AND PERSONAL WITH THE BREAKTHROUGH BAND OF THE YEAR.

PVRIS

PHOTOS: SAM SAN ROMAN

nothing, it was just sound.” They all still listen to metal but “it’s refreshing to not make that.” “The scene we were involved with was like a family,” he continues. ”It was close knit and we’re always about that. We were raised with that so it was nice to have that community, but also the music is a lot more real and raw. It’s not bullshit.” “Yeah, let’s not talk about that stuff,” 23 19


WE JUST WANTED TO DO OUR

OWN THING

LYNN GUNN

says Lynn when her old band is mentioned. It’s the only time they seem reluctant to talk. “We don’t really like to bring it up. I don’t think it has any significance to us now.” It’s a venture that didn’t work out because of “the dynamics of the people within it. It wasn’t really a good chemistry like we have here. We just wanted, at least Alex [who joined the band towards the end] and I just wanted to make good music and not fit ourselves in a box. We just wanted to expand from there, do our own thing and here we are.” Along the way they crossed paths with Brian through mutual friends at a party. “We were both like, ‘We

need this kid in our band’. We hadn’t heard him play the bass, we didn’t even know if he played an instrument, but this kid is so awesome, we need him.” Alex, having “never played the bass before,” switched instruments and joined the gang. Paris, as they were known back then, started off as a five piece that sounded very different. “Yeah, that music wasn’t the direction we wanted to be going in or what we wanted to do now. Certain people were in it for the wrong reasons. We had this one kid who was like, ‘I just want to be famous’ and would openly say that. Why would you? What’s the point in doing this if that’s all you want. You should want to make something. You can actually make a difference, make something that other people can feel and inspire them. That’s the shittiest reason to want to be in a band so we were like, bye.” Built on friendship, a shared vision and powerful chemistry, PVRIS are now a


solid movement. “I feel like the three of us are the three musketeers,” says Lynn. “The core of PVRIS, we don’t want to touch or mess with. We don’t want anyone to throw off the dynamic of what we are because I feel like we balance each other out really, really well. We’re a good trio.” “We’ve been together from the start. From day one in a basement saying we want to do this, and for all the right reasons. We’re slowly getting there and we wouldn’t want to deal with anyone else,” adds Brian. As

uncomfortable as the band are with discussing the early years of their music, on reflection, the sparks that make them so special now were ever present back then. From their single minded desire to create music and not chase fame to Brian’s admission that “when I joined I was used to playing metal music. Being able to do something outside of that world was like a breath of fresh air,” their desire to do whatever they wanted has always been there. They just needed a gentle nudge. “I was good at school but I didn’t like it,” explains Lynn. “I did like all the different activities, marching band, art class but I also did a lot of sports so I didn’t fit anywhere. I was a little chameleon. I stressed out way too much. Three weeks before I was supposed to go to art school, I was driving with my mom and I was like, ‘So, that school thing. I don’t really want to do it.’ She said, ‘As long as you can take care of yourself and make whatever you

want to happen, happen. Go for it.” “My parents have been so supportive about it,” continues Brian. You would think just coming out of the gates of high school, they’d want you to go right to college but our parents told us, just go for it and have fun. It’s going to be a good experience and you’ll be able to


“ WE’RE ALL TO THE

DRAWN

CREEPY, SAD THE DARK “

AND

ALEX BABINSKI

tell your kids in the future. You only get this chance once.” The band break away from the reflection to work out who’s having kids first. (Alex and Brian, if you were curious).

That sense of reckless adventure, of dreaming big and grabbing every moment douses ‘White Noise’ and pits it against its own lyrical shadow. “I’ve always been drawn to dark, sad and angry things. Anything in that realm especially paranormal, I think we’re all super into that. When I was in a crib, I slept with a blow up skeleton. I used to pick out the skeleton books at the library whenever my mom took me,” explains Lynn. “We’re all drawn to the creepy, sad and the dark,” says Alex. “We’re all happy-golucky people, but that’s just what we’re drawn to.” “It’s an outlet,” adds Lynn. ”We are very outgoing, happy people but I think the darkness is in us internally. Deep, deep, deep down in the core, as much as that is sad to think about but,” she pauses and looks over to her right. “I don’t know if you guys feel that way?” Her question is met with nods of agreement. “Absolutely. We’re happy but when we get to play that 30 minute set, you get to get it really out in the open. That’s the real us.” With the band their escape, it’s little wonder PVRIS “think the coolest thing about music is that you can create your own world, in your own imagery, through sound. You can literally paint a picture with sound. I like how everyone’s perception of it is different. In a way, I always picture a place, colours or certain actions. They’re things I wouldn’t be able to draw so I always have some sort of atmosphere, vibe or place in my head, 22 upsetmagazine.com

then I try and make that through sound. The best thing about this style of music, with electronics and programming, is that you can really create a vision that’s not restricted to three or four instruments. You can literally make any sound you want. You can create any atmosphere you want. The possibilities are endless.” From the desolate scene-setting twirl of ‘Smoke’ until the outstretched conclusion of ‘Let Them In’, PVRIS’ debut album crafts a world you can inhabit. You can feel every emotion they offer and with every visit, new discoveries are rife. A year after release, it still feels exciting. They’re right, the possibilities really are endless. The recording of ‘White Noise’ was, “very weird, scattered and abstract. It wasn’t the typical, you all come together, write


23


the song in the room then you track drums, bass then guitar. We did everything all over the place.” Rocking up to the studio with, “a bunch of instrumental demos, some rock and some really electronic,” the band worked through “twenty of thirty” of them while also writing as they tracked. “We did a lot of experimenting. We worked nocturnally so we’d start at 3 in the afternoon and you guys would leave at 9 and then Blake [Harrison, the producer of ‘White Noise’] and I would do vocals or melodies until 7 in the morning,” explains Lynn. “It brought out the best in your ideas. You weren’t afraid because you were so sleep deprived you’re just like, ‘This is cool. I’m not afraid to do this.’” There’s a fearless honesty to the words that inhabit ‘White Noise’, but it also deals in a darkness. “I was going through a lot of stuff when we were doing the record. A lot of the lyrics I wrote and rewrote in the

24 upsetmagazine.com

studio,” explains Lynn. “It was real at the time of writing it and I caught it in a very raw form. I don’t know if I talked to you guys about it at all,” she glances at her bandmates. “I didn’t talk to anyone about it except pen and paper. And then the world,” she adds with a laugh. “It was definitely very cathartic. It was a good release. I also feel like you guys can relate to a lot of the shit I say as well. It’s not like, ‘what are you talking about?’” “Oh yeah, totally. I get it,” says Alex, before Brian continues. “Every feeling you try and get across in a song, everything’s so well woven and on point.” “We’re all cooks in the kitchen, we all have our say,” starts Lynn, with Alex and Brian laughing at her turn of phrase. “You’ve never heard of too many cooks in the kitchen?” she asks, before continuing. “Everyone’s throwing in their spices, a little salt and pepper.” PVRIS have been living with their creations for two years now. “Sometimes you forget you relate to them and you have to step back. Those are good moments when you’re onstage and you feel it. I do still totally feel this way.” “We played our home town on Warped and we were playing ‘White Noise’,” starts Brian before all three sigh affectionately. “The chorus came in, it started raining and there were people on shoulders and something hit you like, woah.” “I could have fallen over,” adds Alex. “It was a crazy moment because

PVRIS ♥ THE UK

“The UK’s been so receptive, welcoming and awesome towards everything we do,” explains Lynn on the decision to kick off the ‘White Noise’ headline run in the United Kingdom, “It made sense that we’d do it first.” It’s a love affair that started with their first visit back in April and has only grown since. FIRST CONTACT In April PVRIS toured outside of America for the first time. They supported Lower Than Atlantis on their headline run as well as sneaking in a couple of headline shows of their own at London’s Barfly and Birmingham’s Academy II. “Those first headliners we did over in the UK in the spring were absolutely bonkers. I can’t wait to see a whole tour with that reaction and with production.” A SLAM DUNK Second on the main stage and the hype surrounding the band is palpable. This is their first proper chance to show off exactly what they can do. While a dodgy mic scuppered Josh ‘YMA6’ Franceschi joining the band for ‘My House’, this set proved that PVRIS can live up to all the expectation all on their own. RADIO HEADS The band flew in, performed a live session at Maida Vale as part of Radio 1 Rocks and left. Faultless. READING & LEEDS For us, it was the set of the weekend. For PVRIS, “There was something electric in the air that day. It felt so incredible. We had no idea what to expect and we were absolutely blown away. The crowd fucking ruled. Usually I have to kind of egg people on for a song or two to get them into it.” Needless to say they needed no convincing. Reading knows how to fucking party. THAT’S THE SPIRIT PVRIS toured the US, Europe and the UK with Bring Me The Horizon. So, how was it? “They were amazing. We were shocked how receptive everyone was. Being the first band on the bill, we weren’t expecting anything but every single show was incredibly fun.”


SO MUCH SHIT READY

...IT’S ALL JUST TIMING

LYNN GUNN

TO GO...

everyone was feeling it. It was one of those ‘oh, shit’ moments. These people get what we’re saying and connect to it. It was fucking crazy,” continues Lynn. “They didn’t care that it was raining or anything, they were giving themselves to you,” finishes Brian with a smile. “And we were doing that to them,” grins Lynn. PVRIS have had countless special moments this year. Every step has felt like a victory and every win, theirs. “We’ve been on the road for a year straight. You grow up really fast on the road. You learn very quickly and experience a lot of things that other people don’t get to. I think we’ve all grown up a lot, we just haven’t realised it. We were thrown into it, ‘Right, how do we do this?’ I think we’re getting closer,” offers Lynn. “I feel more at home with these guys then I do at my own house. It’s good. I think we’ve all grown a lot.” “It’s hard to sit back and see how much,

but we’ve definitely grown a lot,” ventures Alex. “I’m 100% in a happier place. This is the best that life’s ever been. It’s all great stuff, it’s just hard to find words to describe what’s happening.” Despite reaching new heights and growing into position, PVRIS still offers Lynn, Alex and Brian an escape. “I’m going through some stuff right now with relationships. I think we all did, all at the same time. Life outside of that is awesome. On the road we’re happy and doing stuff but there’s a lot of stuff in our personal lives. They’re not the same. There’s a lot of internal stuff too,” offers Lynn. “I’ve learned to cope with it and be happy,” adds Alex. “Being here and doing this now, it’s different if you’re alone and dealing with it because that’s all you think about. When you’re out, doing this, you can’t

“ WE ALREADY HAVE

dwell on it,” continues Brian. A few days later, PVRIS take to the hallowed stages of Reading & Leeds Festival and fucking smash it. “There was something electric in the air,” and as people slowly walk away afterwards, not quite sure what to do next, there was a sense that this band were destined for much bigger slots. Are we looking at a future festival headliner? “Maybe, that sounds pretty damn cool. We’ll have to find out,” says Lynn, playfully. “Eventually. We have hopes and aspirations but we don’t have any expectations. We’re going to aim high, but we’re not going to expect anything. Hopefully we’ll see ourselves there but if not, it’s ok.” Coping with the demands has been a 25


huge part of PVRIS’ learning curve. “We try not to think about it but there is a lot of pressure and expectation on us, especially now with how quickly things are going. I keep saying this but it feels like our bones are growing faster than our skin. Trying to keep up with that is hard but I think we’re doing an alright job.” Their day-to-day manager Matty (“He’s like our big brother”), has been with the band from the start and kept them “very grounded. Him telling us, ‘you guys aren’t ready and you don’t know what to expect’ made us prepare, boxing gloves on. We’re ready.” That expectation is something the band “try not to think about. We just want to do us and be normal people. Sometimes I’ll read interviews to make sure I didn’t say anything stupid [Hi Lynn, all good so far! - Ed] but apart from that, I don’t want to see it, I don’t want to know. Let’s continue to do what we’re doing and hope it works out. If it doesn’t, that’s our fault.” “I’m pretty modest,” explains Lynn when talk turns to press attention. “I don’t really like talking about myself or us. I never expect or want people to ask anything. It’s whatever they wish.” Over the past few months Lynn has become something of a spokesperson on gender 26 upsetmagazine.com

and sexuality in the music industry. “It’s really just press asking, to be honest. It’s not something I’ve ever seen as a big deal or as a defining point, so I’ve always just been open about it. Because I’ve been open about it, I feel like the press has asked me about it and almost exploited it, in a way. “I really don’t ever bring it up unless it’s asked because I don’t think it’s something that needs to be addressed all the time, because it doesn’t mean anything. It doesn’t make me any different to any other human but at the same time, if I can be open and talk about it, that can be good - it’s kinda contradictory,” she explains. “I don’t want it to be exploited and made into this big deal. At the same time, the more I’m open about it, the more it’s addressed. The more I talk about it, the more people are receptive and accepting towards it. It’s turned into this weird middle ground, but I only talk about it when people bring it up or if I feel something’s absolutely necessary. “I love being open about that stuff and, theoretically, I can help people out, help people come to terms with themselves and accept themselves and that’s awesome. At the same time, first and foremost we’re a band. I’m an artist

and that’s my main focus. If I can help anything else along the way though, that’s cool too.” As far as PVRIS have come, there’s still an endless horizon before them. They’re working on new music “Every single day. We love ‘White Noise’, but we’re excited to expand on it. Definitely excited to just make more and put more out there. We already have so much shit ready to go, but it’s all just timing. You know how it goes but it’s ready. We can’t release them right now but I just want people to know it’s getting worked on, it’s happening and it’s going to be really cool. Just keep waiting, please.” “The darkness isn’t going to get lost, if anything there’s going to be more, at least lyrically. I think the sound, sonically might be a more atmospheric and, you’ll find out. You’ll see,” teases Lynn for what seems like the millionth time this year. There’s a glint in all of their eyes when talk turns to what comes next for the band. It’s excitement, it’s knowing but it, for now, is a closely guarded secret. “We’re never going to make the same record twice but we’ll always keep it honest and real. It’s definitely different. It’s definitely new and exciting, but it’s still very PVRIS.” P


THE

BEST ALBUMS OF

2015

+ SOME EPS TOO

H O W M A N Y G R E AT A L B U M S H AV E B E E N R E L E A S E D O V E R T H E L A S T T W E LV E M O N T H S ? L O A D S . T H AT ’ S H O W M A N Y . O O D L E S O F T H E M . I F Y O U ’ R E I N T O D AY- G L O P O P P U N K O R U N D E R G R O U N D C O L L E G E R O C K , T H E R E H AV E B E E N . S O M A N Y G E M S I T ’ S V I R T U A L LY I M P O S S I B L E T O RE M E M B E R TH E M A L L . G O O D JO B W E ’ RE H E RE TO D O I T F O R YO U, T H E N .


BEACH SLANG - THE THINGS WE DO TO FIND PEOPLE WHO FEEL LIKE US B I G S CA RY M O N S T E RS

Keep calm and listen to Beach Slang. Every line of ‘The Things We Do To Find People Who Feel Like Us’ inspires and stays like a motivational poster delivered with the comforting optimism of someone who knows it’s going to get better - just infinitely less irritating. Wrapped around gruff pop-punk, you’ll want to hang this album on your wall.

REFUSED FREEDOM E P I TA P H

Putting their legacy on red, Refused’s comeback album could have gone either way. It takes exactly 29 seconds for ‘Elektra’, the opening charge, to put any and all fears to rest. From here on out, it’s pure excitement. Refused are not only as vicious and poised as ever, they’ve grown into their role as statesmen. Their attacks are precise and the control is absolute. This isn’t just another Refused album. Whether you wanted it or not, ‘Freedom’ rages. Legacy be damned.

ALLISON WEISS - NEW LOVE SIDE ONE DUMMY

You know those albums that are just so catchy on a first listen you never quite shake it from your head? ‘New Love’ has the most upfront honesty wrapped in bubblegum sweet songs, offering two different albums in one. Weiss’ music is a joy, her lyrics a journey. An album that hooks you in from the start and never quite lets go.

ANTI-

2 8 upsetmagazine.com

TRIPLE CROWN

With their impressive debut ‘The Albatross’ fresh in hearts and minds, Foxing side-step the expected with ‘Dealer’. Still packing a heartfelt punch, the band lean left, rather than right. Luscious and refrained, they master the art of texture. Their intimate lyrics now come into focus and stay there, while at their backs the musical waves lap. More a world than a journey, this crafted landscape is one of vibrancy.

TITLE FIGHT HYPERVIEW ANTI-

DEAFHEAVEN NEW BERMUDA Intricate yet brutal, Deafheaven’s third album sees the band further expand on their pool of influences, yet that controlling grip has never felt tighter. Moving From the abrasive to the sedative on a sixpence, ‘New Bermuda’ is unpredictably glorious. The success of 2013’s ‘Sunbather’ hasn’t altered the band’s cinematic vision and the result is a fearless world of grit and glamour. From the mid-song fade of ‘Brought To The Water’ through the wailing guitar solo of ‘Baby Blue’ to the handful of scattered home recordings, Deafheaven’s roar is decorated with bells, whistles and train delays giving their fantastical escape grounded realism.

FOXING DEALER

CEREMONY THE L SHAPED MAN M ATA D O R

Ceremony jump so giddily from album to album, we’ve long since lost the ability to tie them down to labels. ‘The L-Shaped Man’ is another shock to the system for those that still inhabit ‘Violence Violence’. They may have swapped clenched fists for swaying hips but their ability to get you right in the heart remains ever present. From the melancholic ‘Exit Fears’ to the reflective frustration of ‘The Party’, ‘The L- Shaped Man’ is relentless in its heartbreak.

Ditching the mosh-pits and stagedives for dark rooms and ambient lighting, Title Fight caught everyone off guard when they dropped ‘Hyperview’. Its lush shoegaze-inspired layers and intense pacing meant that despite taking a turn sonically, they stayed comfortably on course as one of the best bands in their scene. That they play the songs live with the same vigour really helps legitimise them within the band’s canon, too.

NAI HARVEST - HAIRBALL TO PS H E L F REC O RDS

Flooded with elation, ‘Hairball’ is absolutely bloody massive. Kaleidoscopic guitars chime with a high-octane energy, while echoing vocal cries practically beg for a gigantic squad sing along. Bold, bright, and oh so beautiful, Nai Harvest have hit the jackpot.


“Are so a rock band.”

SPEEDY ORTIZ FOIL DEER

C A R PA R K R E C O R D S

FIDLAR - TOO

W I C H I TA R E C O R D I N G S

Punk comes in many forms - from shiny power pop to in your face aggression, but to disregard FIDLAR’s brand of fuck it, fully-baked brilliance as anything else would be as disingenuous as it would be plain wrong. On their second album they’ve channelled the kind of personal trauma most of us would struggle to come back from into hundred mile high anthems. From the jittering, skipping ‘40oz On Repeat’ to demo-madegreat ‘West Coast’ - when Fidlar hit their top... erm... gear, they’re without peer.

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SEPTEMBER 2015

R AT I N G : e e e e e

H I N D S I G H T S . H AV E A C H AT B E T W E E N Y O U R S E LV E S , T H E N T E L L U S : W H O WA S Y O U R BAND OF THE YEAR?

Creeper. Life affirmingly good people, amazing songs, obnoxiously good live.

On ‘Foil Deer,’ Speedy Ortiz’ second full-length, Sadie Dupuis’ proclamations are bolder and more ferocious than ever, backed the whole way through by the band’s tightest, most explorative instrumental offerings yet. Easily the most self-assured the Massachusetts quartet have sounded, this is, start to finish, one of the most uniquely charismatic offerings of the year. Speedy Ortiz are pissed off and supremely talented - a potent combination.

THE STORY SO FAR - S/T PURE NOISE

They might have toned things down a bit for their third album, but The Story So Far’s self-titled effort is no less brilliant than anything that came before it. Their most introspective offering yet, Parker Cannon’s

audacious way with words is even more apparent than usual when his lyrics and melodies are given more room to breathe by slightly stripped back instrumental arrangements. Grounded rather than grandiose, this is the most mature TSSF have ever sounded.

METZ - II SUB POP

Metz aren’t about showing off. They’re not keen on plastering their faces over every surface, or getting involved in the ‘personality’ driven world of popular music. Instead, they’re far more interested in the aesthetic of their music. When you’re turning out albums as good as ‘II’, that’s absolutely fine. Aggressive, strong minded and with more energy than a nuclear power plant, every move is channelled deliberately. ‘Acetate’ punches through concrete, ‘IOU’ crackles to life with a deliberacy few could match. When Metz finally burn it all to the ground, we could do worse than rebuild everything in their image. Or, in the best possible way, lack of it.

THE

BEST ALBUMS OF

2015


R O M IM ARE... L L O U T B OY A F . D E R U C L E G ACY S E

FALL OUT BOY AMERICAN BEAUTY / AMERICAN PSYCHO VIRG IN EMI

If Fall Out Boy’s initial comeback album was a surprise, then this, the band’s sixth studio effort, will have your jaw drop and your eyes pop. ‘American Beauty/American Psycho’ is the sound of Fall Out Boy taking the shiny pop sentimental of ‘Save Rock And Roll’ to the limit. There are idiosyncrasies galore and a guitar line in ‘Uma Thurman’ that will have you reaching for your embarrassing Hawaiian floral shirt.

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“And you’re sure more people are coming to fill these seats?”


S L A RT S I N C E R E T U R N I N G F R O M H I AT U S , F A L L O U T B O Y

H AV E N ’ T P L AY E D I T S A F E .

D O M I N AT I N G A I R WAV E S , T H E K I N G S O F R A D I O R O C K R E I G N O N C E M O R E . WORDS: SARAH JAMIESON

PH OTOS : SA R A H LOU I S E B E N N ET T

THE

BEST ALBUMS OF

2015


T

he last fourteen years have been one hell of a ride for Fall Out Boy. From their humble Chicago beginnings to securing themselves a musical legacy as one of modern rock’s biggest and best groups, the band’s past decade has seen many an obstacle be thrown their way but somehow, they’ve always come back stronger. 2015 is yet more proof that they feel unstoppable. With the turn of the year, they unveiled their sixth album ‘American Beauty / American Psycho’ without much prior warning and offered up some of their most brilliantly madpop-scientist moments. All the while, it provided a vital dose of adrenaline, direct to the heart of the rock scene they’ve spent so long calling home. Unafraid to throw caution to the wind and swerve in a new direction, it’s the mentality with which they approached their latest record that frontman Patrick Stump thinks affords them the ability to stay constantly relevant. “I will never chance to guess why that’s happened for us, but it’s weird,” the frontman laughs, ahead of their recent headliner at London’s Wembley Arena,

32 upsetmagazine.com

where they’re playing for two nights on their latest visit to our shores. “It’s not the norm,” he admits. “It’s certainly not what I expected, and that’s not usually how it plays out. It’s very weird.” “We didn’t let ourselves breathe,” he goes on to explain, on the band’s gameplan in making their newest full-length. The album was sandwiched between tours and time off while they were on the road supporting their comeback record ‘Save Rock and Roll’. “Because of that, we didn’t really have a lot of time to stress about it. I think that, practically, was the smarter move. When you put it in perspective, we went away for three years after - on paper - our arc. We came back and we did ‘Save Rock and Roll’ and we wanted to do something that would connect with people, and would matter to us as a thing going forward, not just as a tip of the hat and a, ‘Yeah, we were the band we used to like.’ We didn’t really want to do that. “That record far exceeded those expectations and somehow, reestablished us, which is crazy. The benefit of hindsight and having to deal with the so-called ‘sophomore slump’ so many times - pretty much every record we’ve ever put out has a been

a sophomore slump! - we went into it, thinking, ‘Screw it, there’s nothing you can do, there’s no way that you can obsess over it and come out with the right answer, so let’s just go in and do what we feel like doing.’ We did something that felt good and immediate to us and, in fact, we purposely made the record in a short amount of time. Because of that - the talk about the mainstream and everything - I think, for me, it was a happy accident. I think Pete’s aware of these things; he’s very in-tune with what’s happening and understands it on a certain level. It feels more like a current record.” “The attempt was...” bassist Pete Wentz begins, on the experimental aspects of the record. “Rappers and DJs are able to respond directly to pop culture. One of the things about being in a rock band is that you’ve got to go away for two years to figure it out. It was an experiment to see if we could just made a record and respond to pop culture right away. We recorded in hotel rooms and backstage at festivals, in bedrooms and in studios; it was really like piecemeal put together, but in that initial way, I think it’s a success.” As ever, the band are unafraid to muddy the boundaries of different genres:


that’s something that runs through the lifeblood of ‘American Beauty / American Psycho’. While tampering with the traditional structure of being in a rock band, the quartet have often found themselves calling upon other genres for inspiration. Now’s no different, and it’s something that’s still constantly opening new doors for them. “You know, some kid asked me the other day,” Stump recalls, “and I thought it was so funny because, again, it’s really hard to imagine that anyone is picking us up now. I feel like, certainly for me, it’s really hard to imagine someone is hearing us for the first time. You figure, if they were gonna hear us, they probably already have by now. But no, every day, there’s somebody going, ‘Oh wow, this is a new thing.’ A fan asked me, ‘So, where did you get that sample of Jay Z? What record is that from?” He references Jay Z’s snippet of introduction on ‘Thriller’, the opening track of their third album ‘Infinity

On High’. “I’m like, ‘No, Jay Z was on our record! It was a big deal at the time.’” “He says, ‘Fall Out Boy’!”, laughs drummer Andy Hurley. “I do feel like, on some level, if you’re looking at Fall Out Boy right now, and you go, ‘Oh, they’ve gone a little pop,’ it’s like, “Were you ever listening?!” We’ve always been very accepting of pop music; our first record is incredibly pop, but it’s very heavily distorted!” Their flirtation with genres – whether it be straight-down-the-line pop or the more hip hop-infused moments they’ve offered up along the way - is something that, in Pete’s opinion, is aiding them more than ever in this day and age. “I feel like now, Fall Out Boy thrive in an environment like this,” he notes, “because people listen to songs rather

than artists. We do make albums that are bodies of work, but we’ve always diverse inspirations. Our genre has always been really hard to pin down. I feel like now, people listen to music in a far less genre-led way now. If somebody listens to Drake and they listen to Fall Out Boy, they might then listen to a Skrillex song.” Even just a few weeks after their UK shows, the band manage to outdo expectations all over again with their reworking of the album, ‘Make America Psycho Again’, which sees the band invite a different rapper to guest on and remix each of the album’s eleven tracks. What is set to come next for the band right now, however, will still remain a secret. “I just think, the way the world consumes art now,” Pete hints, without revealing their future plans, “we could do whatever. Like the Young Blood Chronicles, but something nothing like that.” Remaining tightlipped on where they could go next, Fall Out Boy remain a band who will always manage to surprise, bewilder and amaze; therein lies the power of their legacy. P

“WE’VE ALWAYS BEEN VERY ACCEPTING OF POP MUSIC.”

THE

BEST ALBUMS OF

2015


ALL TIME LOW FUTURE HEARTS HOPELESS RECORDS

GIRLPOOL WHEN THE WORLD WAS BIG

VIET CONG S/T JAG JAG UA R

W I C H I TA R E C O R D I N G S

After last year’s excellent selftitled EP, Los Angeles native indie-punk duo Girlpool wasted little time putting out follow-up record ‘Before The World Was Big’ back in June. Keeping to the theme of punchy, minimalist, guitar-bass-vocals songs (imagine being such a good band that you don’t even need drums), Cleo Tucker and Harmony Tividad refined their sound and put out 25 minutes of anxious, nostalgic brilliance.

The (quite rightly) soonto-be FKA Viet Cong’s debut album captures every aspect of the Canadian four-piece and distills it down to seven bristling tracks. Leaping from the juddering,

built-up industry of ‘Pointless Experience’ to the stark expanse of ‘March Of Progress’, the album threatens to throw people off but the band’s ability to promise and engage keeps the rattling art-house lashed together. ‘Continental Shift’ is a pop smash disguised as something much darker while ‘Death’, the elevenminute epic that draws the curtain down, ebbs, flows and flowers with a singular voice.

2015 saw the pop-punk boys from Maryland shake off all their inhibitions and fully embrace the sugar sweet end of their generic spectrum; it didn’t half go down well, eh? ‘Future Hearts’ scored them a UK Number 1 album, enabled a main stage Reading & Leeds success story and is about to send them into British arenas come February, on their Back To The Future Hearts tour. How long have they been waiting to use that one?

DEATH CAB FOR CUTIE KINTSUGI W I C H I TA R E C O R D I N G S

SORORITY NOISE - JOY, DEPARTED TO PSH E L F REC O RDS

There’s always been something really cool about Connecticut’s Sorority Noise - a truly unique quirkiness that allowed them to stand out in a fairly crowded pop-punk-that’s-a-bit-sad landscape. It wasn’t until they came out with this year’s ‘Joy, Departed’, though that they showed just how special they are. Ridiculously catchy, deeply emotive and with some serious Weezer vibes in places - what more could you want?

Almost two decades in, and with the departure of a key member between recording and release, it wouldn’t be all that surprising to hear that Death Cab For Cutie’s eighth album sounds broken. That assumption couldn’t be further from the truth. ‘Kintsugi’ is a record of deft unity. That cohesion isn’t the only surprise lurking across the band’s outstretched vision: every listen returns new spoils and leaves many doors open for whatever comes next.

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MARCH 2015

P A U L F R O M H E C K . W H O R E A L LY N E E D S T O G ET A M OV E O N A N D G ET T H E I R A L B U M OUT IN 2016?

Ermmmmm, HECK? Bad form to choose yourself, but let’s not kid ourselves, we really need to pull our fingers out and unleash the beast. Keep your eyes peeled for 2016 guys.


A LOT

“THERE’S OF MUSIC LEFT IN US.”

L I N E U P C H A N G ES, TOU RS, A N E W A L BU M - 2015 H AS B E E N A N O N-STO P

Y E A R F O R D E AT H C A B F O R C U T I E . W O R D S : T O M C O N N I C K .

“E

verybody’s feeling really positive,” says Death Cab For Cutie bassist, Nick Harmer halfway through a year-ending UK run. Given they’re a band who, to many, are the archetypal tragics, it’s a hell of a contrast. Death Cab’s reputation has never affected much, though. “We’ve got a really good core fanbase that reacted really well to the record,” he says of ‘Kintsugi’, their latest LP that signalled the departure of founding guitarist Chris Walla, “but I also think it’s been a late discovery for a lot of, either casual fans or people who’ve maybe forgotten about us over the years – like, ‘Oh yeah, I haven’t

checked in with what Death Cab’s done’, and they find ‘Kintsugi’ and are like, ‘Woah, this is what they’re doing now?!’” “It feels like it’s had a long life already and people are still finding it and connecting with it. Even some of my closest friends, I feel like just now they’re like, ‘Oh my gosh, your record’s really good!’” he laughs. “I don’t feel like there’s a lot of people left who haven’t necessarily heard of us, but I do think it’s nice that people are still finding our music relevant and are able to discover what we’re doing.” Walla’s departure brought a fresh perspective with it though, and it’s that which seeped into Death Cab’s cracked exterior, smoothing

over what could’ve been a disastrous split. Replacing the founding guitarist with two multi-instrumentalists, Dave Depper and Zac Rae, the Death Cab of today have a much wider horizon. “We have yet to sit down and start writing music together,” says Nick, “and figure out what that stuff is gonna feel like and sound like, but so far the shows have been among some of my most favourite shows we’ve ever done. I’m very optimistic about what it’ll feel like to write music and record together.” Moving forward, there’s a feeling of anticipation – an eagerness to keep evolving as they approach year nineteen as a band. “We’ll always miss Chris,” he admits, “and we had some amazing experiences with him, but I think all of us are really still focussed on the future and what’s to come. I think there’s a lot of music left in us to make together. I can’t wait to see what we do with five people in the studio versus four.” The end of 2015, then, feels like a full stop on Death Cab’s most extreme disruption to date. Nick enthuses about the new members’ abilities to re-invigorate their back catalogue – an extra two pairs of hands helping them bring the records’ “little flourishes and counter-melodies” to life on stage - but it’s in the future, not the past, that Death Cab look to really shine. “It won’t be as intense as this year,” he says, eagerly anticipating a little time to unwind, “but we’re definitely gonna work pretty solidly in 2016, and start thinking about another album at the same time.” P

THE

BEST ALBUMS OF

2015


SLEATER KINNEY NO CITIES TO LOVE SUB POP

When bands go away, they’re supposed to return purely to cash in. To play a few dates, rehash the old material to the fans who were there first time around, then bugger off back to count the piles of money. Not Sleater Kinney though. With ‘No Cities To Love’ they came back with their best album to date. Not only that, but one that hit way beyond their previous boundaries - a record that resonated to a new generation, that belonged in the here and now and, crucially, was really bloody brilliant. Watch and learn.

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ROLO TOMASSI - GRIEVANCES H O LY R O A R

‘Grievances’. The clue’s in the name. For their fifth album, Rolo Tomassi had a few things they wanted to get off their chest. Whether it’s further distancing themselves from their math-core beginnings or having the self-assurance to allow each member a space to shine, ‘Grievances’ is an album with a voice demanding to be heard. Born from injustice, there are zero complaints about the finished product. Furious and intense one moment, welcoming and spacious the next, Rolo Tomassi flit between extremes with a caring touch. Celebrating their tenth anniversary with this new release instead of nostalgic reflection, onwards they march.

WAVVES - V GHOST RAMP

Downbeat, rousing, troubled, and

consoling, Wavves’ fifth album is a constant contradiction wrapped up in contagious choruses. Arriving in a flurry of anthemic guitars and chant along choruses, the record races with a determination to shake the worries right out of your hair. From the rousing “we’re not alone” refrains of opener ‘Heavy Metal Detox’, through the assuring “it gets better”s of ‘Pony’, ‘V’ presents punk rock anthems in a cathartic haze of energy that leaves even the sternest and the most sober swaying their troubles away.

DRENGE UNDERTOW I N F ECTI OUS

There’s literally nobody in music with better names than Eoin and Rory Loveless. Recruiting their childhood chum Rob Graham for parts of album two, ‘Undertow’ is a record that proves once and for all Drenge are more than just indie kids with riffs. Bar one, sort-of-ironic intro, this is a full strength, front on assault. Moving

JA M ES F RO M RO LO TO M ASSI, W H AT WA S Y O U R F AV O U R I T E F E S T I VA L I N 2 0 1 5 ?

ArcTanGent. Always excellently curated, brilliantly run and one of the best and most friendly festival crowds to play to in the world. Plus they keep letting us DJ the silent disco which we enjoy a lot.

from immediate mega-banger ‘We Can Do What We Want’ to brooding, slow burning ‘Standing In The Cold’, they’ve got more strings than your average ensemble. Best of all, this still feels like a step on the journey. When Drenge are done, they’ll be Britain’s best band. Just you watch.

SVALBARD ONE DAY ALL THIS WILL END H O LY R O A R

Few manage to get the balance between screaming vocals, crushing instrumentals and harrowing beauty just right but Svalbard, on their debut album no less, pitch it perfectly. From the urgent opening of ‘Perspective’ to the and spirited victory of ‘Lily’, ‘One Day All This Will End’ is a poignant demand to grab every moment by the scruff of the neck. Brash and furious, Svalbard offset the wide-eyes with a desire to be better. The result is a leveled album of wonderful extremes that sounds as good as it feels.


ACE EPS CREEPER - THE CALLOUS HEART ‘The Callous Heart’ is Creeper’s call to arms. Drenched in the mystery of fairy tales, this glittering chapter of escapism and unity is where their story really begins. This is Creeper and there’s no one else like ‘em.

MILK TEETH SAD SACK

Fuck your nineties revival. Milk Teeth aren’t a callback to the good ol’ days, they’re a triumph of the present. With a run time matching an episode of The Simpsons, these six tracks offer the same garish personality and smirking sense of belonging as the classics.

CASSELS HATING IS EASY

Cassels present more ideas in their all-to-brief debut release than many bands manage in a career. Fine tuned to impress, the two-piece strut about the fourteen minutes of ‘Hating Is Easy’ with a dangerous cocktail of youthful bliss and knowing confidence.

ARCANE ROOTS - HEAVEN & EARTH

Arcane Roots have struggled with expectation from day one. ‘Heaven & Earth’ sees them return with a simplified mission statement and renewed vigour. They want to make you move.

STATE CHAMPS AROUND THE WORLD AND BACK PURE NOISE

State Champs set themselves a high bar with their debut album, ‘The Finer Things’, but they managed to smash it with their huge sophomore effort, firmly cementing themselves as one of the bands to watch in a year that has been dominated by pop-punk. With songs like ‘Secrets’ and ‘All You Are Is History’ harbouring choruses as big as you could possibly ask for, it’s no wonder they’ve made so many friends this year.

GOD DAMN VULTURES ONE LITTLE INDIAN

Exploding out of Wolverhampton with all the tumultuous energy of miniature tornadoes, God Damn’s debut album left an impression that none who encounter can evade. Thom Edward

crafts a menacing presence through fevered vocals and driving distortion, whilst Ash Weaver’s rolling rhythms fly by at a breakneck speed. Combining a near-feral energy with an innate sense of aptitude, ‘Vultures’ is both menacing and magical. It’d be a dangerous combination in anyone else’s hands, but God Damn are more than capable of flirting with fire.

MENACE BEACH RATWORLD MEMPHIS INDUSTRIES

The members of Menace Beach have been on the edge of greatness in previous bands before, only to have it stolen away from them. Not this time, though. With a debut album that never puts a single step wrong, their trippy, scuzzy rock wins both hearts and minds.

THE

BEST ALBUMS OF

2015


WOLF ALICE OU’VE HAD THE YEAR ROCK? INDIE? WHEN Y R I E S D O N ’ T M AT T E R . H AV E , G E N R E B O U N D A

WORDS: ALI SHUTLER

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“S

ometimes I feel like we’re having so many good things happen to us, that there’s some really shit karma on the way,” starts Theo Ellis. “We were just playing in America and everything was so great. It was such a good time, surely we’ve got something bad on the way.”

Since the release of ‘Fluffy’ back at the start of 2013, Wolf Alice haven’t put a foot wrong. Slowly but surely Joff Oddie, Joel Amey, Ellie Rowsell and Theo have crafted identity and voice. It’s what makes makes ‘My Love Is Cool’, their Mercury Prize nominated debut album, glitter so. Released in June of this year, it’s the gooey centre at the heart of Wolf Alice’s miraculous year. From their triumphant pre-album show at Shepherd’s Bush Empire through Glastonbury, Latitude, Reading, Leeds until the entirety of their two month, transatlantic headline tour with Drenge, it’s been a year of highlights. While the world at large has only just started taking the scrappy four-piece seriously, they’ve meant business for ages now. “It felt very real to us for quite a while before. We put out those two EPs and we toured in support of them. It had already become everything we’re doing. Working towards the album had consumed all of our time for about a year before release. It’s definitely set us off in a new direction though.” “Yeah, everything feels a bit up in the air before you release an album. It sort of cements you as a band,” adds Ellie. From the moment of release ‘My Love Is Cool’ felt like something special. Narrowly losing out on a Number One slot thanks to Dave Grohl and his wafty leg / Florence + the Machine’s triumphant replacement, the album was

embraced from the off. “I don’t think any of us really knew how it was going to be received. Before it was out we’d listen to it and I’d be like ‘I’m sure it’s really good, I’m proud of it’ and then other days we’d think ‘fuck, what if no one likes it,’ Theo explains. The band may be “a soft 4.3” on the rock scale, but every aspect of them is real. The songs are genuine, the success, hard earned and the individuals just that. There hasn’t been a British band since the Spice Girls to capture that sense of personality but with Wolf Alice, it isn’t contrived. Or based on hair colour. (Sorry Theo.) That Bash Street Kid gang mentality is why every Wolf Alice show is filled with glittering warpaint. “It’s what I really admired about certain bands when I was a kid, their identity was a part of you,” Theo explains. “People latch onto that. We’ve never had a silly meeting where we sit down and think ‘how can we make ourselves appear like a gang’. It’s important for young bands to have that atmosphere about them though. It’s exciting and it creates a community, it’s really cool.” Despite the success and the success that Wolf Alice have earned this year, they’re refusing to get caught up in it. If they’re

going to be successful, they’re going to do it their way. The band still worry ahead of TV appearances, the moments before a recent outing on Jools Holland was “the most nervous I’ve seen the band in a long, long time.” Elsewhere the band has baulked the natural order of following a sold out show at Brixton Academy with either Alexandra Palace or Wembley Arena. “There was talk of doing something like that but it doesn’t feel quite right for us at the moment. Honestly, we don’t want to do it.” Instead, the band has booked a string of nights at The Forum. “It’s going to be cool. We’ve got plans and taking it over for several nights gives us loads of creative opportunities. It should be fun, or it might be a fucking terrible idea.” The band, “don’t think we want to prove anything but we want to write a different record. We want to improve and develop. There are loads of things we want to do. I don’t think we need to prove ourselves by any means but we still have the hunger to create interesting stuff and do cool shit. That’s very eloquent, isn’t it?” he laughs. “We want to do cool shit.” It’s a desire that’s taken them this far. Let it run. P

WOLF ALICE - MY LOVE IS COOL DIRTY HIT

You won’t find a band who missed out on a debut Number One album by a narrower, more unfortunate margin than Wolf Alice. Just over 500 copies, thanks to Dave Grohl’s broken leg installing Florence and her Machine in a Glastonbury headline slot. That’s all it took to snatch away what was rightfully theirs - because ‘My Love Is Cool’ isn’t just a great first full length; it’s an album for the ages. Snarling, slick, sassy and packed with sly ear worms, this gang are special. Indie? Rock? Brilliant will do just fine.

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THE

BEST ALBUMS OF

2015


JEFF ROSENSTOCK WE COOL? QUOTE U N QUOTE

PETAL SHAME RU N F O R C OV E R

The debut LP from Petal, the project of Philadelphia singer-songwriter Kiley Lotz, is every bit as beautiful as it is honest. With the band being comprised of Lotz and her hometown friends Ben Walsh and Brianna Collins - who you may recognise as the pair otherwise known as Tigers Jaw - it’s probably no surprise that there’s a familiar charm to the album. This is easily one of the most authentic sounding, instantly endearing records of the year.

DEMOB HAPPY DREAM SODA SO RECORDINGS

Demob Happy’s debut album bubbles and pops with wideeyed hooks. It’s little wonder they christened this bundle of excitement ‘Dream Soda’. From the fizzing crack of ‘Haat De Stank’, Demob Happy are impossible to pin down yet ‘Dream Soda’ runs towards a singular goal.

SEAWAY COLOUR BLIND PURE NOISE RECORDS

NORTHLANE NODE

‘Colour Blind’ or not, there’s no escaping the neon rainbow that is Seaway’s second album. The eternal struggle between pop and punk that rages at the heart of every New Found Glory influenced record is bypassed by Seaway as they play it straight down the middle. There’s no shame in power chords.

UNFD

Northlane come out armed to the teeth with ‘Node’. Kicking the door down with ‘Soma’ the band spend the duration of their third album trashing the place. This isn’t the wanton destruction of the mindless though, as Northlane scream world-weary demands of inspiration and second chances. With a new vocalist in the fold, the band knew there was every chance ‘Node’ would never have been made. With renewed vigour, they make the most of every second, giving the album a relentless lust for life that’s tough to brush off. 4 0 upsetmagazine.com

GALLOWS DESOLATION SOUNDS BRIDGE NINE

Gallows had something to prove with ‘Desolation Sounds’. Instead of pandering, they stuck two fingers up at the expected path. It’s that defiant attitude that prowls across their fourth album. Hardcore chunks hang next to the gothic disco as Gallows remind us that the band is bigger than the individuals.

Anything Jeff Rosenstock has had a hand in is guaranteed fun. Yet, despite time spent in Bomb The Music Industry!, The Arrogant Sons Of Bitches and Antarctigo Vespucci, his second full-length solo effort ‘We Cool?’ is by far the best time you’ll have with anything from his extensive back-catalogue. The self-depreciative humour, raw honesty and huge choruses make this record truly memorable. A must for fans of Joyce Manor and their contemporaries.

MOTION CITY SOUNDTRACK - PANIC STATIONS E P I TA P H

Their first album since Tony Thaxton’s departure saw Motion City Soundtrack try to forget everything that they knew and just play. But they can’t move away from that infectious style - that skill for writing lyrics that reach out and connect to the listener. ‘Panic Stations’ may be their newest album, but it’s like that new friend to a group who fits in perfectly with the rest.

MEAT WAVE - DELUSION MOON SIDE ONE DUMMY

Unrelentingly demanding of your attention, ‘Delusion Moon’ is a full-throttle force there’s no avoiding. Pent up energy races like an electric shock, barely pausing to take breath. It’s exhausting and inimitable, a constant shudder of bottledup emotion and inhibited compulsion that lays everything in to waste in its wake. Shambolic and melodic, Meat Wave hammer their songs home with an unwavering assurance. If it’s conviction that sells, these guys are onto a goldmine.


HEALTH - DEATH MAGIC F I CTI O N

HEALTH’s ‘DEATH MAGIC’ starts with an ominous opening gambit that sounds like it could be lifted straight from Hollywood Blockbuster. From there on out, it’s all lights and action. From the pulsating march of ‘STONEFIST’, through the dashing break of ‘COURTSHIP II’ until the twitching abandon of ‘DRUGS EXIST’, ‘DEATH MAGIC’ feels grandiose yet dangerous. ‘NEW COKE’, a hedonistic end-of-days rave track, comes with the chirpy promise that “life is good,” as the band warp their music to sound both primal and futuristic. Down the rabbit hole we go.

ADULT MOM MOMENTARY LAPSE OF HAPPILY TINY ENGINES

One of the most underrated releases of the year. Adult Mom’s super chilled approach to emotive songwriting came as a breath of fresh air when it was released back in May. Lyrically exploring concepts as basic as love and relationships, and complex as selfidentification and sexuality, all with a ‘dear diary’ level of honesty. Few albums came out this year that will make you feel more like you’re sharing something truly intimate with the artist than this.

COLLEEN GREEN - I WANT TO GROW UP H A R D LY A R T

‘I Want To Grow Up’ stomps with the same ASH F RO M BOSTO N M A N O R, W H O’S YO U R BA N D O F T H E Y E A R ?

Moose Blood have really brought their A-Game this year. They’re the nicest bunch of dudes & deserve everything great coming their way.

bratty charm that the title implies. Demand or plea, Colleen Green is trying to escape. It’s a theme that sits at the rapidly beating heart of this record. First contact is sickly sweet but don’t let the bubblegum delivery fool you, there’s an existential crisis raging below. Pitching her vocals just under the pendulum swing of the percussion makes it difficult to pull apart every motive but when they tumble through, they cause moments of disbelief. It’s these brief cracks in the glistening surface that exposes the grinning beast that Colleen Green is trying to get away from.

WINTER PASSING - A DIFFERENT SPACE OF MIND

CHEATAHS MYTHOLOGIES W I C H I TA

Two albums in two years, Cheatahs are churning out brilliance. ‘Mythologies’ is still big on the fuzz but cut with a sense of daring, it sees their gaze lifted from the floor. This expansion has flooded their sound with glowing warmth.

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Playing to their strengths, ‘A Different Space Of Mind’ sees the vocal back and forth between Kate and Rob Flynn pushed to the forefront. There’s friction, trust and admiration underpinning every chemistrylaced exchange. It’s that playful rivalry that pushes the band down unexpected paths.

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“THE NEXT ONE IS GOING TO BE WEIRDER.” D O N O VA N W O L F I N G T O N WA N T T O KEEP THINGS INTERESTING. W O R D S : R YA N D E F R E I TA S

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onovan Wolfington’s ‘How To Treat The Ones You Love’ came as one of the biggest surprise packages of the year. Their debut full-length on Topshelf Records brings together a plethora of loosely punkbased influences and styles that result in an incredibly refreshing listen. Flitting from hook-laden slacker punk to brooding hardcore to something pretty damn close to grunge without ever breaking their stride, it’s clear that the New Orleans trio are no ordinary band. The incredibly difficult circumstances

that surrounded the making of this album – the death of friend and owner of the studio ‘How To Treat...’ was being put together at, Rick Naiser and departure of singer/ keyboardist, Savannah Saxton - are even less ordinary still. It’s almost a miracle, then that this album ever even saw the light of day. How exactly does a band pull through all of that and stay in the mindset to get an album done? “To be honest, I have no idea,” reflects singer/guitarist, Neil Berthier. “As hellish as it was, there always seemed to be a light at the end of the tunnel; we had to just roll with the punches.

DONOVAN WOLFINGTON - HOW TO TREAT THE ONES WE LOVE TO PS H E L F

In order to enjoy this brilliant and at times unpredictable offering from Donovan Wolfington, you’ll have to put aside expectations of what an album should sound like. That’s not a comment on the quality, that’s never in doubt, but rather on the fact that this is a record that goes from melodic slackerpunk songs about getting high, to a straight up hardcore track, to a weird interlude about locusts, without a moment’s notice.

“Plus it’s not like the in-between of all the bad shit wasn’t fun. We all grew through it and are stronger because of it. Why just give up when you could keep going and have a blast at the end? That’s where we’re at now and we’ve already started writing the next one so it’s all gravy, baby.“ “It’s all gravy, baby” is an almost inconceivably laid-back response to

such trying circumstances, but given some of the more nonchalant, ‘life’s a party’ lyricism found on the record, maybe this isn’t too surprising. Still, it must feel pretty good to have come through all of that and have as positive a reception to the record as they’ve had, right? “It feels good but not as good as I thought it would when we were recording,” Berthier admits. “It’s the curse of being a band. What keeps you going is the new phases of life and the urge to represent those phases through music. There are obviously other factors, but that force is very important.” That hardship and the band’s admirable way of reacting to it would certainly help shape an album and it does beg the question: Would it have sounded different if things had gone more smoothly for the band? “Not really,” Berthier supposes. “We did everything ourselves so that created a lot of pressure in itself. It only intensified when Rick died and Savannah left. Chris [Berthier, bassist] left at the end and that was a bit more peaceful and resolved a bit quicker than the other incidents.” “The next one, I can already tell, is going to be weirder - and more linear,” he says, however. “Everything will be different and exciting for us, as well as whoever is listening, and that’s the goal.” P


TURNOVER PERIPHERAL VISION RU N F O R C OV E R

There’s a distortion hanging over Turnover’s second album that gives it a sense of sage wisdom and age. A musical Polaroid instead of the pristine clarity of digital, if you will. This reflective insight is threaded through the lyrical confession, watching the band look at lost love with guilt, regret and acceptance. Sure, the end result is one of health but the journey there is soaked in painful confrontation. Sticking in your throat, ‘Peripheral Vision’ is an album that captures the struggle of moving on as it twists itself around your gut. It may sound unpleasant but the dawning realisations that litter the album shine brighter with a touch of gore beneath them.

“WE’RE ALWAYS THINKING FORWARD.”

T U R N O V E R A R E L O O K I N G AT T H E B I G G E R P I C T U R E . W O R D S : A L I S H U T L E R

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rom the graphic introduction of ‘Cutting My Finger Off’ through to solemn realisation of ‘Intrapersonal’, Turnover’s ‘Peripheral Vision’ is a record of growth. The lyrical content is rooted in the past and the shimmering echo that surrounds it, conjures a wistful longing for lazy days gone by. Overcoming their past, Turnover march forward. Seven months after the release of ‘Peripheral Vision’ and the band, “still really enjoy the record. We can still put it on and listen and enjoy it thoroughly. Of course there are things that we’re critical about but overall we’re very proud of it,” explains vocalist/guitarist Austin Getz. Formed in 2009 and making a name for themselves in the world of pop-punk, ‘Peripheral Vision’ is a mark of change for the band. More introspective, lush and spacious than their previous works, this

album better reflects the band Turnover have grown into. However, this isn’t the destination. “We’re always thinking forward and progression is natural. ‘Peripheral Vision’ is a stepping stone in the bigger picture, but that isn’t taking anything away from its place with us.” Embraced by people, “as much and much more than we could have ever asked for,” the reaction to ‘Peripheral Vision’ has been “wonderful.” It’s seen the band play over 114 shows this year with the likes of New Found Glory, Fireworks, Pianos Become The Teeth, Basement and a whole heap of other greats but Turnover refuse to pick a favourite. “That’s rough. We love a lot of the people we have toured with and met this year.” Spoilsports. Those live shows sit on a level with the acclaim for the brilliant ‘Peripheral Vision’ with, “Either one without the

other is missing something. “ However you listen, Turnover want their music to cause “whatever personal experience it evokes. Something unique and real that resonates with them.” It’s an understandable desire, especially when you consider the confessional nature of the lyrics. Lost love, guilt and self-doubt are all served with a heavy dose of nostalgia but, “Performing the songs with that lyrical content hasn’t really ever been something cathartic for me,” explains Austin. “Any self doubt and relief from that is usually created and resolved in my own mind.” With the band constantly moving forward, the future is assured but difficult to pin down. There’s a UK tour with Citizen at the start of 2016 but after that “Who knows?” With their ‘Peripheral Vision’ so confident, Turnover look set to continue their flourish. P

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“I THINK JASON’S THE GREATEST FRONTPERSON ALIVE.” THE WONDER YEARS AND LETLIVE. SITTING IN A T R E E , M . A . K . I . N .G ( V E RY G O O D S O N G S . )

he Wonder Years’ fifth album ‘No Closer To Heaven’ is an incredibly powerful body of work. It’s The Wonder Years at their very best. ‘Stained Glass Ceiling’, a collaboration with Jason Aalon Butler of letlive., underlines the message of the whole album. The intensely moving vocalisation captures the sense of guilt felt by those who can see the injustices in the world, but feel powerless as mere observers. It’s a song that asks questions from every angle. It’s not the first time that Dan ‘Soupy’ Campbell and Jason have worked together, with Dan providing vocals on ‘The Dope Beat’ as part of letlive.’s Renditions series. ‘Stained Glass Ceilings’ is the first time the pair have had an equal input on a song though and below the pair explain why it won’t be the last. “Dan called me, he’d let me know he wanted me to sing on their next record and I certainly was honoured and obliged,” explains Jason. “As far as

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this current music scene that we’re somewhat relative to, it’s rare that I find sparks of inspiration. It’s rare that I connect strongly with many of the bands that we may be contemporaries with,” he continues, before clarifying that he doesn’t want to offend anyone. It’s a feeling that Dan shares. “I think we come from similar ethos and I think that breeds some of the respect. Bands who like each other and like the way other bands think.” “Dan told me what he was writing about,” continues Jason. “He was explaining what he thinks he should be saying, how certain things are unjust or wrong and what shouldn’t be happening. He was asking questions because Dan and I come from very different demographics. We come from very different walks of life. He was asking questions about where I grew up, how I grew up and he wanted to understand and use that understanding. He was writing these things from his perspective. Then we got together and started writing this song.”

“He kills it,” says Dan of Jason’s performance on the track. “We’re just friends and we see eye to eye. There’s a mutual respect. I think that Jason’s the greatest frontperson alive right now. The only person on earth who I think rivals Jason on how they perform live is Hayley from Paramore. The two of them, they are the gold standard, just in different ways.” “The topic of the song is a lot of the reason we were like, Jason is the voice for this,” he continues. “Jason is more the voice for it than I am. I ran almost all of my lyrics for this song past him. ‘Hey, this is what I’m thinking of saying. You’re going to be on the song, so I want you to be 100% behind the message of the song.’ He was like, ‘you’ve nailed it’. “I don’t want to speak for him, [but] Jason has a really unique experience going through his life. His identity and everything surrounding it, where he came from, who his parents are, all of that is really speaks to this song. He was the perfect candidate to sing on it.” P


THE WONDER YEARS - NO CLOSER TO HEAVEN HOPELESS REOCRDS

The Wonder Years have always asked questions with their music. Pushing the boundaries of what their genre is capable of, ‘No Closer To Heaven’ sees the band continue their musical assault. There’s talk of guilt, feeling helpless and wanting to change the world but delivered with a charming weight, it’s never overbearing. In fact, it’s wonderfully powerful. Moments of poignant beauty stand next to crushing hunks of grit as the band once again raise the bar to dizzying new heights. RELEASED:

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DILLY DALLY - SORE PA R T I S A N

It might be dark, messy, scathing and raw, but somehow ‘Sore’ is still up there with the greats. All it takes is a shiver-inducing snarl from frontwoman Katie Monks and the spell is cast. Condensing everything from blind rage to utter devotion into a half hour record, Dilly Dally drag their emotions kicking and screeching through the dirt. It’s a thrill that continues to sting, but be damned if we want the sensation to end.

A L E X F RO M ROA M , WHO’S THE BEST LIVE BAND OF 2015?

Enter Shikari. We’ve played with them a few times now and they just destroy every single set they play.

COURTNEY BARNETT SOMETIMES I SIT AND THINK... M A R AT H O N

Occasionally, a record will demand attention. That’s what Aussie borderline-genius Courtney Barnett’s album insists upon. From the word go it’s solid gold banger after solid gold banger. Storytelling at its best, with the kind of sunny, life’salright-actually, effortless joy that comes with having your Xmas dinner on the beach - infectious doesn’t begin to cover it. From confirmed classic ‘Pedestrian At Best’ to ‘Aqua Profunda!’, it’s ‘Depreston’ that really hits the mark. It makes you think.

VENNART THE DEMON JOKE SUPERBALL MUSIC

Oceansize have grown in reverence since their somewhat messy end in 2011. They were a wild, fearsome and uncompromising beast and that spirit finds a home on Mike Vennart’s debut album. ‘The Demon Joke’ isn’t a rehashed

attempt to recreate his former band though. It spins wildly with its own style and attitude. From the popping introduction of ‘255’ through the off-kilter arena smash of ‘Infatuate’ until the soulsearching curtain drop of ‘Amends’, Vennart not only wields technical proficiency but cleansing emotion. The starkest thing about ‘The Demon Joke’ is how Vennart manages to inject personality into the inanimate. The flourish of guitar and the thunder of drums all roll with their own charming voice, giving ‘The Demon Joke’ a playful orchestra to toy with. Oceanwho?

BRAWLERS - ROMANTIC ERRORS OF OUR YOUTH ALCOPOP RECORDS

Brawlers’ debut is a party album. It’s designed to get you up and amped. From the clattering introduction of ‘Annabel’ to the arms aloft conclusion of the title track, every moment of ‘Romantic Errors Of Our Youth’ screams “let’s go!” It’s this charging pace that’s defined Brawlers short but sweet career to date. With meaningful tales of lost love and honest regret at their core, it’s a record that still offers something the morning after the night before.

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CHVRCHES EVERY OPEN EYE V I RG I N E M I / G O O D BY E

Inventive, catchy electro-pop signalling a huge climb to the top for CHVRCHES, ‘Every Open Eye’ would see the most miserable of rock fans singing into their hairbrush. Comfortable in showing off its 80s influences, but with a vibrancy which undoubtedly places it as a pop record for 2015.

TWENTY ONE PILOTS BLURRYFACE F U E L E D BY R A M E N

With ‘Blurryface’, or Fight Club: The Musical, Twenty One Pilots take their quirky, small-town wonderings to the big city. This genre wobbling opus sees the two-piece expand their clique, confronts the darkness within and offers hope of victorious cohabitation. All of that while channeling arena-sized choruses, TOP have taken a massive leap forward while forgetting none of their past. The first rule is, this rules.

NO DEVOTION PERMANENCE C O L L ECT

Pouring all the bile of the past into a gloomy wasteland, no one saw No Devotion’s debut album coming. Decadent, vibrant and glorious, there’s not a single moment on ‘Permanence’ that wallows. Instead, we’re treated to a forward march of assured style and necessary catharsis. From the cloudburst of ‘Break’ until the downpour of ‘Grand Central’, No Devotion is focused on new horizons. In amongst all that cinematic wonder, there are arena-ready anthems and the promise to continue.

COHEED & CAMBRIA - THE COLOR BEFORE THE SUN 3 0 0 E N T E R TA I N M E N T

They’ve been our tour guides for the last decade or so as we travelled to galaxies unknown, unfurling wild and wonderful stories across the universe. But in 2015, Coheed came home. The songs were bursting with Claudio’s own life and stories, but while it was more intimate in that sense, it was another epic adventure that showed the band at their finest.

FOUR YEAR STRONG S/T PURE NOISE RECORDS

This year saw Four Year Strong shrug off the shackles of their pseudo serious endeavour, ‘In Some Way, Shape Or Form’ and head back to the laughs that were had on ‘Enemy Of The World’. The bearded band’s eponymous effort wiped the slate clean and plays host to a rejuvenated sense of humour, as well as some of the more trippy artwork you’re likely to have seen this side of the noughties.

SUPERHEAVEN - OURS IS CHROME SIDE ONE DUMMY

Following up on 2013’s ‘Jar’ was never going to be an easy task, but Doylestown, PA’s Superheaven (FKA Daylight) weren’t fazed. Taking their now trademark chunky, 90s-influenced sound and pulling it in a slightly more considered direction, ‘Ours Is Chrome’ is the sound of a band who’ve grown comfortable with the weight of expectation. Oh, and opening track, ‘I’ve Been Bored’ has one of the best choruses of the year, too.

LUKE FROM MUNCIE GIRLS, W H AT ’ S Y O U R A L B U M O F THE YEAR?

Woahnows - ‘Understanding And Everything Else’. It’s jam packed with brilliant, catchy hits. Recorded on a ridiculously small budget, it proves that it’s all about great songs.


DESAPARECIDOS - PAYOLA E P I TA P H

If a week is a long time in politics then 13 years - the time since Conor Oberst’s posthardcore project Desaparecidos’ last album, cult classic ‘Read Music/Speak Spanish’ - certainly leaves ‘Payola’ with a lot to cover. Set to the backdrop of post-9/11 America amid financial crisis, increasing inequality, and the rise of the Occupy movement, ‘Payola’ is the fightback. A pissed off but playful ode to the 99%, like a scrap from your A-level politics coursework set to fuzzy guitars, with ‘City on the Hill’ proving that no political commentary can ever be so scathing as to not enjoy a pop punk “oh-oh!”.

THE FRONT BOTTOMS BACK ON TOP F U E L E D BY R A M E N

Their first release on hit-factory Fueled By Ramen sees The Front Bottoms taking all the

charm and wit they’ve become known and loved for and turning it up a notch. Equal parts sarcastic and heartfelt, ‘Back On Top’ is a logical progression for the band as they build on their previous work with some of the most festival-ready songs of their career, without ever losing what’s got them this far. There are some truly huge moments on this record that’ll be a highlight of their setlists for years to come.

FRANK CARTER & THE RATTLESNAKES BLOSSOM I N T E R N AT I O N A L D E AT H C U LT

Gruff, unapologetic and fucking furious, Frank Carter is back. Age hasn’t mellowed that venom. Spitting lyrics and beating himself up to song, ‘Blossom’ is an album that expunges personal demons. More than a vanity project though, it captures the spirit of a frustrated generation and gives them a voice. Every track hits like a juggernaut, whether the vicious hammer of ‘Trouble’ or the quiet choke of ‘Beautiful Death’, Frank Carter’s learnt to really flex that muscle.

PRESS TO MECO GOOD INTENT BEST BEFORE

Any time spent telling you to listen to ‘Good Intent’ is better spent actually listening to it. Trust us, it’s fucking rad. Don’t waste another second, just go. (It’s ok, we’ll wait for you.)

CHELSEA WOLFE ABYSS SARG ENT HOUSE

Her heaviest record to date, ‘Abyss’ sees Chelsea Wolfe taking her music to the murkiest depths it’s ever occupied. Dark and beautiful, there’s little else like it.

BRING ME THE HORIZON THAT’S THE SPIRIT RCA REC O RDS

2015 has gone rather well for BMTH. Their brave album, ‘That’s The Spirit’, saw them escape the confines of a genre threatening to consume them creatively and, alongside a sterling set at Reading & Leeds this summer, earned them the right to call themselves soon-to-be festival headliners.

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GHOP ALON PAINTED SHUT ECORDING W I C H I TA R

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is a band at ret, ‘Painted Shut’ of wonder and reg weight of the es tal the h ue wit esq es ryedg With dia at the rld to get lost als tear and waver wo Voc n. ole wh ope a st g mo ftin their rds, cra spiral ever outwa s tar gui ile wh , words in. It’s enthralling.

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“EVERYBODY WANTS TO DO SOMETHING THEY CAN STAND BEHIND.”

2 0 1 5 S AW P H I L A D E L P H I A ’ S H O P A L O N G R E L E A S E T H E I R S E C O N D A L B U M , ‘ P A I N T E D S H U T ’ . W O R D S : A L I S H U T L E R . P H O T O : E M M A S WA N N

“I

always want it to be open, I never want to tell people how to feel,” explains Frances Quinlan ahead of Hop Along’s glorious return to London. Last time they made the journey from Philadelphia, it was to the Old Blue Last. Filled to the rafters, drenched in passion and matching skyward expectation blow for blow with dazzling prowess, the band let you in on harrowing, beautiful truths. Two years later, the stage is bigger and their back catalogue has doubled but that charming intensity remains just as powerful. Hop Along released their glorious second album ‘Painted Shut’ earlier this year. It’s a record shaped by the journey that their hypnotic debut ‘Get Disowned’ sent them on while maintaining a creative distance from the fanbase it garnered. “We appreciate that devotion but we do try and not think about it. I don’t think anyone really wants a replica of the thing that came before. They may think they do, but this is a truer version of the second record. “We also had the comfort knowing that there was absolutely no way that we could make this record the way we made ‘Get Disowned’. That record took two years. Not straight, obviously but piecemealed over that time. We had the luxury of not having any money, so we had all the time in the world. When there is a finite amount of time and money, you have to be a lot more responsible. Back then we had the joy of mostly irresponsibility and it was great. I love how that album came about but there’s no way we can ever do it again.”

The band knew ‘Get Disowned’ was done when they had to send it off to the factory to get pressed. On ‘Painted Shut’, it was when their producer told them so. “We were out of time,” laughs guitarist Joe Reinhart. “That’s when we’re done. That’s exactly when we’re done,” adds Frances. “We always work right down to the wire. We soak up every last second of time. I’m sure if we had an extra month, there’d be all sorts of extra stuff on there. “ True to their word, they haven’t. While ‘Painted Shut’ still has the vitality that made ‘Get Disowned’ such a captivating listen, it’s by and large a completely different record and a completely different show. “We’ve honed in on what we want, so it’s tighter,” starts drummer Mark Quinlan. “Experience has definitely been evolving us, which is what’s supposed to happen,” continues Frances. As considered and arching as the album sits, it’s a record that captures the band in real time. “The second you finish something, the next day you’re better at what you do. You think you need to go in and fix it, but you have to let it go. The week after we finished mixing I listened back to the record and I was so miserable,” admits Frances. “I just felt like I’d made so many mistakes. I was telling Joe and John Agnello, who produced the album, I need to use the studio. I have to fix this. “I let it go for another two weeks and then I was finally able to enjoy it. I need to take a big step back once it’s done but now I feel very at peace with the record. It’s a document of where you are at a certain point and that’s always changing.

You need to realise that whatever you make at a certain time isn’t who you are two years or three months from then. Hopefully you’re always changing.” As the band change, so does the world that surrounds them. “There’s more pressure. There’s more of a schedule,” reasons Mark. “I got married so I have this constant guilt about being away from home and leaving my wife. I have to make sure I’m accomplishing in a way that’ll make her proud. Socially, my life has become a little more complicated, more people depend on you, you have more responsibility and that in turn reflects on my role in the band, which is wonderful. It presents a whole new level of challenges that I can rise to and life’s no fun without challenges.” “I almost feel like I was a bit spoilt coming up a long time ago in the DIY house show community,” reflects Frances. “People were committed to just coming to shows. I remember seeing ten people at a show in the middle of nowhere years ago and thinking that was incredible. I still try to maintain that attitude but now, we’re opening for bands whose fans have no idea who we are. They have no reason to care; we’re just another band. When people do come up and talk to me about our records, it means the world to me.” Once this European run is done, Hop Along are returning home. They need to sort out the details of their spring tour and want to start work on the next record. “We want to get better. We want the next record to blow this one out of the water. With any pursuit, everybody wants to do something they can stand behind. As long as we maintain that, we’ll be pretty happy.” P

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MEWITHOUTYOU - PALE HORSES B I G S CA RY M O N S T E RS

How many bands who have been going for over a decade can claim they produced their best album in 2015? Philadelphia’s mewithoutYou managed exactly that with ‘Pale Horses’. Repeat listens reveal more and more to love – little nuances that went unnoticed, subtle self-referential nods that you just can’t pick up on without keeping an ear out for them. One of the most cerebral and rewarding records of the year.

THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE HARMLESSNESS E P I TA P H

‘Whenever, If Ever’ was a great album - one of the most crucial releases of that whole ‘emo revival’ thing that went on over the last few years. Then ‘Harmlessness’ came along and made it look silly in comparison. Rich and intricate, this LP marked TWIABP as one of the most improved bands of 2015. Given that they were already pretty bloody great, that’s not bad going.

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ONLY RIVALS - LIFE IS PERFECT

TELLISON - HOPE FADING NIGHTLY

In amongst all the drama and dick jokes, blink-182 would thread the sort of simplistic line that, at the right moment, would make a perfect sort of sense. They would stick with you, offering comfort and confidence from the shadows. There’s a similar shock of clarity to Only Rivals’ debut album. From the opening lament of ‘Dive In’, ‘Life Is Perfect’ spins tales that suggest the opposite. Gritted teeth and entwined hands, the band conjure an against-theodds optimism. It’s a hard-fought outlook sound tracked by a harder still instrumental crunch but in moments of calm or crisis, the struggle makes sense.

Tellison, underdogs and outsiders, haven’t exactly had an easy run of it. Perpetually on the edge of a ‘big break’, the stars never quite aligned for them. ‘Hope Fading Nightly’, the band’s third full length, shoulders the disappointment and defeat and turns it into a victory march. From the winking apology of ‘Letter To The Team’ through the disenchanted dreamer anthem of ‘Tact Is Dead’, Tellison find comfort in sound. There’s the realisation that they may never sell out Wembley Stadium but as long as they don’t give up, that’s enough. Success is selfdetermined and ‘Hope Fading Nightly’ basks in that realisation.

SO RECORDINGS

WAXAHATCHEE - IVY TRIPP W I C H I TA R E C O R D S

‘Ivy Tripp’ continues on the steady expansion of Waxahatchee’s sound. Where debut, ‘American Weekend’ was pretty much just her and an acoustic guitar, ‘Ivy Tripp’ – just two albums on – is a textured, thoughtfully produced, full-band experience that sees Katie Crutchfield taking her talents to new heights. The introspective charm of what came before has been replaced with brilliantly executed explorative ambition that’s impossible to fault.

ALCOPOP RECORDS

G O O N , M AT T F R O M D E M O B H A P P Y . W H AT WA S Y O U R G I G O F THE YEAR?

I was stage side at a 30 Seconds To Mars gig and he looked into my eyes . Right then, I became a Martian. 5 0 upsetmagazine.com


“LEAVE EVERYONE ALONE” O DIE NO LONG ER AFRAID T UT I F U L PL AC E & I A M THE WORLD IS A BEA FIES E D AT H T D R O C E R H A DEBUT THIS YEAR WIT FOLLOWED UP THEIR S: WILL RICHARDS. PIG EONHOLES. WORD

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The two year gap between The World Is A Beautiful Place & I Am No Longer Afraid To Die’s debut ‘Whenever, If Ever’ and follow-up LP ‘Harmlessness’ wasn’t spent quietly. A whole host of singles, 7” splits and a collaborative EP with spoken word artist Chris Zizzamia, ‘Between Bodies’, arrived in this time. As well as the album’s title (a hark back to 2010 EP ‘Formlessness’), the record is packed full of references to the band’s earlier material - the ‘blank’ series of instrumentals continues with #11, and a chorus and volcanic theme are borrowed from ‘Formlessness’ track ‘Eyjafjallajökull Dance’ in ‘Ra Patera...’. It’s clear that although The World Is... are clearly always developing, there are themes that tie everything together. The links to ‘Formlessness’ mostly come from the re-introduction of original member Tyler Bussey to the band after a five-year absence. Guitarist Derrick Shanholtzer-Dvorak explains that

despite the break, the time period spent without Bussey faded into nothing when ‘Harmlessness’ started coming together. “It was like picking up where we left off.” “We are constantly writing and recording new material. Some of those tracks [released between the two LPs] were written after ‘Harmlessness’, some of ‘Harmlessness’ was written for ‘Whenever, If Ever’,” explains Shanholtzer-Dvorak, and the band’s reluctance to separate their material into clear, defined pieces adds to the feeling of unity. The band have been constantly on tour since the release of ‘Harmlessness’, taking in dates with Foxing, Brightside, Pianos Become The Teeth and more, and Shanholtzer-Dvorak can see the progress the album has signified for the band, even if it’s coming slowly. “Nothing has drastically changed; we are playing the same spots we did last year, maybe a few more heads in the door.” That change doesn’t seem to be something that would suit the band though; more just little tweaks, an extra member here

or there, an introduction of a new element or style to their sound. Anything else would do a disservice to their vastly promising earlier material, which has been built upon and improved with every subsequent release. ‘Harmlessness’ simply continues this trajectory. The band’s well-documented army of members meant studio time was hard to come by for ‘Harmlessness’, but they made the most of a non-stop month at the desk of guitarist Chris Teti, who records all the band’s material. Shanholtzer-Dvorak reveals there are “5 or 6” songs from those sessions, in which they tracked for 13 hours a day, every day, that didn’t make it on. It’s not unlikely that those songs will surface in the future, just as songs written for ‘Whenever, If Ever’ have found a home on LP2, and the ball is evidently already rolling for whatever comes after ‘Harmlessness’. As the ‘emo revival’ banner fades into irrelevance going into 2016, The World Is A Beautiful Place & I Am No Longer Afraid To Die have made a second album that defies labels and incorporates everything from indie rock to hardcore to swirling post-rock without a care or need to be categorised. It’s this that makes them stand out from the scene they were inducted into fronting, and not be held back by preconceptions. P

THE

BEST ALBUMS OF

2015


couple more like that on album three and they’d be sorted both sides of the Atlantic. Where’s the fun in that though? Instead of another straight down the line record, Young Guns sacked off convention and came back with the electro pomp of ‘Ones and Zeros’. Beyond the initial shock, the record dances with unrestrained desire. The band have never sounded so cocksure. It’s that swagger that gives these twinkling club anthems their grit and highlights their gamble as a resounding success.

SPRAYNARD - MABLE

RADKEY - DARK BLACK MAKEUP

JADE TREE

STRANG E LOOP

Despite being younger than most, Radkey’s debut already felt like a long time coming. ‘Dark Black Makeup’ is their battle cry in their fight against dull rock music. It’s one to get behind, capturing their mix of maturing on the road, and the anarchy of live shows.

WHILE SHE SLEEPS BRAINWASHED S E A RC H A N D D E S T ROY

SENSES FAIL - PULL THE THORNS FROM YOUR HEART PURE NOISE

The hyper-personal confessions that inhabit Senses Fail’s eighth album make it a frank and compelling listen. Detailing the vicious struggle for selfacceptance, the themes are universal. It’s opened dialogues, provided comfort and offered hope. It’s also fucking ace.

After what was a stunning call to arms on While She Sleeps’ debut ‘This Is The Six’, the future started to look bleak pretty quickly when vocalist Lawrence Taylor was forced to undergo throat surgery. Fortunately ‘Brainwashed’ brought with it an opening cry from Taylor on ‘New World Torture’ that put all worries to rest and also marked the start of what was quite a year for the Sheffield lads.

YOUNG GUNS - ONES AND ZEROS VIRG IN EMI

Young Guns were the darlings of Brit-rock after the release of uber-anthem ‘Bones’. A

Has there been a more criminally overlooked band in pop punk over the last few years than Spraynard? (No. No there hasn’t.) ‘Mable’ sees the Pennsylvanian trio taking some steps towards maturity – albeit with the awkward, self-doubting charm the band have made their calling card – and serves as their most complete release to date. With more down-to-earth pop punk becoming The Thing recently with The Wonder Years and The Story So Far’s dominance of the genre, there’s no reason for Spraynard to stay under the radar for long. Especially if they keep being this good.

ELVIS DEPRESSEDLY NEW ALHAMBRA RU N F O R C OV E R

Elvis Depressedly. What a band name that is. There’s far more to them than just that, though, as ‘New Alhambra’ proves without doubt. Cramming more emotion into their minimalist, lo-fi approach than most songwriters could with a full orchestra and accompanying stage show, Elvis Depressedly have positioned themselves as one of the brightest lights of Run For Cover’s impossibly well-lit roster.


AMBUSH REALITY

Four albums in, you know that with Enter Shikari you should expect the unexpected. ‘The Mindsweep’ is full of boggling twists and natty little surprises. This constant deviation and doubling back only enhances the album’s desire to question the world that surrounds it. Punchy and political, Enter Shikari are only getting bolder as their imaginations soar but they’re still a band that anyone can get a hold of.

JOANNA GRUESOME PEANUT BUTTER FORTUNA POP!

Joanna Gruesome’s second album is a hyper-charged bundle of melodic hooks, urgent cries and jagged charm. The blinkand-you’ll-miss-it run time sees the band crash through ten tracks without a moment’s pause. Thrashing this way and that, ‘Peanut Butter’ is a tricky record to pin down. Brief glimpses of beautiful refrain lure you into a false sense of security before a hardcore snarl throws you off. Despite reckless first impression, there’s a considered construct at the core of ‘Peanut Butter’.

PET SYMMETRY - PETS HOUNDS B I G S CA RY M O N S T E RS

Full of self-depreciative humour and irresistible catchiness (as well as some truly brilliant song titles), Pet Symmetry is the sound of members of Into It. Over It., Dowsing and Mountains For Clouds stepping away from their mostlyemo ‘main’ projects and having a great time. It’s a lot more than just a bit of fun, though and the result is ten tracks of power-pop excellence that begs for sing-a-longs the whole way through.

FUNERAL FOR A FRIEND - CHAPTER AND VERSE DISTILLER RECORDS

Despite the news that Funeral For A Friend are calling it a day, there’s no clues of a breakdown on ‘Chapter and Verse’. Yup, seven albums in and the band sound as relevant, hard-hitting and vital as ever. Politically charged and cherrypicking the very best that FFAF have ever offered, the band are going out on the highest of highs.

W E L L , T H O M F RO M G O D DA M N . D E S P I T E YO U A N D A S H G I V I N G U S L O A D S O F G R E AT A N SW E RS , N O B O DY E L S E WO U L D A N SW E R TH I S O N E. SO. W H O SH OU L D G ET I N TH E B I N?

5SOS.

BULLY - FEELS LIKE SUB POP

You can normally grasp what makes a band special. Their sound, their vision or that one moment in a song where everything comes together and makes sense. You can’t do that with Bully. Everything about them feels special. From the clattering introduction of ‘I Remember’ until the final, pounding moments of ‘Bully’, the band’s debut album is consistently flawless. ‘Feels Like’ is grubby, frayed around the edges and there’s a sense that something’s going to give at any moment, but it never does. It’s beautifully effortless and utterly compelling. Repeated listens have led to one conclusion. Bully are simply magic.

RELEASED:

JUNE 2015

R AT I N G : e e e e

THE

BEST ALBUMS OF

2015

WO RDS : A L I S H U T L E R , H E AT H E R M C DA I D, JAC K G L ASSC O C K , J ESS G O O D M A N , K RI ST Y D I A Z , RYA N D E F RE I TAS , ST E P H E N AC K ROY D

ENTER SHIKARI - THE MINDSWEEP


E S I R + E S I R E TH OF TWIN ATLANTIC Words: Heather McDaid

T U K TOU R THEIR BIGGES T O D AT E

th-long tour It wasn’t a relentless mon every place of all the main cities and sive dates in between, but a few mas Atlantic Twin far how wed sho that d the likes have come. They comman ease, but of Brixton Academy with as a club ate intim as feel it e mak border back show. Upon crossing the to the Hydro into Scotland, they took the likes of - a stage that has hosted celebration. Beyonce - in one blinding out telling “It’s hard to explain with few years you that it made the last “I suppose the make sense,” says Ross. validates last thing you did always t, especially your journey to that poin you’ve if it’s bigger venues than played before.”

HE SECOND HEADLINING T T H E PA R K S TA G E AT T I N

ival has been Scotland’s leading fest r the years, home to many bands ove ng them the fostering talent and givi Twin, it’s opportunity to return. For but 2015 saw almost a second home, stage to an them headline second endless sea of people. y stage “We’ve played nearly ever years and it at the festival over the our hearts,” will always be close to on alone Ross notes. “For that reas stage] was a [headlining the second d, but add to real moment for the ban been there we’d that fact the mix that were in multiple times before we see the a band and you start to icular party importance of that part for us as people.”

a year it’s Oh, Twin Atlantic. What d can be a been. While life in a ban y of ups and rollercoaster, a trajector al loop, for downs, and the occasion it seems like the Scottish foursome ually working they’re on the incline, grad no real sign their way skyward with by anyone’s of stopping. 2015 has, est year of reckoning, been the bigg ist Ross McNae bass as or ers, care r thei ve not played would say, “surreal. We’ e in previous as many shows as we hav the best shows years but they’ve been We finished we’ve played I would say. uch earlier touring for ‘Great Divide’ m albums and than we have on previous t making new it’s kept us hungry to star time to do music rather than wanting life.”

quality over While it’s been a case of schedule, quantity on their touring er-defining it’s given some real care moments.

T W I N N Y , W H AT ’ S T H E B E S T B A N D Y O U S AW AT A

F E S T I VA L I N

2015?

“What do you mean you didn’t get the ‘four puppies for backstage hangs’ on the rider?”

Sting in France somewhere. It’s just hit after hit and he plays them better than anyone half his age. (Doesn’t he, y’know, go on a bit? - Ed)


T W I N AT L A N T I C PH OTO G R A PH I C REC O RD

While it’s easy to talk about the journey the band have come on, it’s also nice to physically look back on it. Documenting the first eight years of the band, from the tours they booked themselves up to their more recent mammoth shows, they have a collection of photos taken by drummer Craig Kneale - a personal memento for the band, and nice way for fans to see a little more into tours gone by. On documenting this first epic chapter, Ross says, “It feels great to look through it and remember the journey to get to where we are today. Not many people realise that we’ve been a band for eight years and that we’ve taken a pretty scenic route compared to a lot of other bands that are playing the same stages as us nowadays. “Craig got a camera around the same time our band started touring so it documents his story as a photographer alongside ours as a band which is a unique angle I think. We don’t usually look to the past as a rule really as we’re pretty driven to keep doing new things and making new music, but this has been a chance to take stock for a second. We’re proud of our journey.”

OFFICIAL LETTER OF COMPLAINT

G O O N T H E N . W H AT D I D W E M I S S F R O M OUR ALBUMS OF THE YEAR LIST? WHO H AV E W E M O R TA L LY O F F E N D E D ? W H AT I N S U LT H AV E Y O U C O O K E D U P ? F I L L I N T H E F O R M B E L O W T O ‘ H AV E A G O ’ W I T H T H E M I N I M U M E F F O R T. J U S T T W E E T I T B A C K AT U S AT @ U P S E T M A G A Z I N E .

D E A R U P S E T, YO U _____________________. I ’ V E J U S T R E A D YO U R BEST OF 2015 ISSUE. HOW DA R E YO U M I SS O U T _____________________. I T ’S/ T H E Y ’ R E T H E _____________________ OF THE

G O O D B Y E , G R E AT D I V I D E

‘Great Divide’ has marked a change in Twin Atlantic While it now opens up the question as to what happens next, it also offers a moment to pause and look back at this latest chapter. “There’s too many highlights,” Ross notes, “but a few would be playing Brixton Academy, The Hydro in Glasgow, Reading and Leeds, Glastonbury, T in the Park, going to Australia and South Africa for the first time. Kicking the album off with shows at the Webster Hall studio in New York and The Troubador in LA, and meeting all the people we’ve met on our travels. It’s been fun.” “We’ve learned a lot about what we like and dislike and have a bit more time to think about why we’re going to make the next record, rather than just making it because that’s what you do.”

_____________________. T O N O T I N C L U D E I T/ T H E M , Y O U ’ D H AV E T O B E _____________________ _____________________. N O W, W H Y D O N ’ T YO U _____________________. MANY THANKS. _____________________.


READERS POLL 2015

L A S T I S S U E , W E A S K E D ! Y O U V O T E D ! H E R E A R E T H E R E S U LT S ! T H I S I S A L L O N Y O U G U Y S .

“Hurrah! The spell worked!”

BAND OF THE YEAR WINNER: PVRIS

2ND:

B RING ME TH E H ORI ZON

3RD:

THE WONDER YEA RS

(They’re on this month’s cover, they win your poll. That’s the sort of serendipity we like to see - Ed)


ALBUM OF THE YEAR

WINNER: THE WONDER YEARS - NO

C L O S E R T O H E AV E N 2ND:

BRING ME THE HORIZON - THAT’S THE SPIRIT

3RD:

TU RNOVE R - PE RI PHER AL VISION

BANGER OF THE YEAR WINNER: BRING ME THE HORIZON - THRONE 2ND:

C REEPER - TH E H ONEYMOON

SUITE 3RD:

NEW BAND WHO WILL MAKE 2016 10/10 AMAZING WINNER: CREEPER 2ND:

M I LK TE ETH

3RD:

B LAC K PE AKS

WOL F A L I C E - G I A NT PEAC H

BEST VIDEO: WO L F A L I C E - G I A N T P E AC H B EST L I V E ACT : WOLF ALICE B E S T F E S T I VA L T Y P E ‘ T H I N G ’ : SLAM DUNK B E S T B A N D Y O U S AW AT A F E S T I VA L I N 2 0 1 5 PVRIS B E ST C OV E R V E RS I O N : S L AV E S - S H U T D O W N B A N D W H O S P L I T, B U T O N RE F L ECTI O N IT WOU L D B E O K N OW IF THEY UN-SPLIT: M Y C H E M I CA L RO M A N C E T H E B R A N D N E W AWA R D F O R T H E BA N D W H O M OST N E E D TO G ET A M OV E O N A N D G ET A N E W A L B U M O U T ‘A S A P ’

IN 2015, ROCK IS... 9 1% A L I V E A N D W E L L 9% DEADER THAN DEAD

BRAND NEW

( O B V I O U S LY )

B A N D W H O R E A L LY N E E D T O G E T I N T H E B I N R I G H T N O W, T B H 5 SECONDS OF SUMMER

57


AROUND RLD THE W O

T H E U S I S C U R R E N T LY C H U R N I N G O U T M A N Y O F O U R F AV O U R I T E B A N D S , A N D T H E Y ’ R E C O M I N G F R O M A N U N L I K E LY P L A C E . C L E A R LY T H E R E ’ S S O M E T H I N G I N T H E P H I L A D E L P H I A WAT E R . W O R D S : R YA N D E F R E I T A S . P H OTOS : M A RT H E J O H A N N ESS E N .

No soft cheese in sight.


“ O K AY

, I’M JUST GONNA MAKE A

QUICK LIST OF BANDS RIG HT NOW FROM THE

P H I L LY

AREA: THE MENZING ERS,

THE WONDER YEARS,

T I G E R S J AW ,

T I T L E F I G H T , M A N OV E R BOA R D, M O D E R N B A S E B A L L , S U P E R H E AV E N , C I R C A S U R V I V E ,

M E W I T H O U T YO U ,

P E TA L . . . I T

R E A L LY Q U I C K LY S P I N S O U T O F C O N T R O L . ” DA N ‘SO U PY ’ CA M PB E L L , T H E WO N D E R Y E A RS . He’s right; it really is out of control. In the last decade, that ‘Philly area’ Campbell speaks of (“When I say the Philly area, by the way, I’m talking about the suburbs, I’m talking about South Jersey, I’m talking about Scranton, WilksBarre, Delaware, all those places are what I see as the Greater Philadelphia Region”) has produced a ridiculous amount of great bands that, across a number of sub-genres, have played a huge part in shaping the contemporary punk rock landscape. In fact, it’s hard to imagine what that landscape would look like at all without Philadelphia’s bands. Where would pop punk be without The Wonder Years? Where would the ‘emo revival’ be without Tigers Jaw or Modern Baseball? How empty would indie-rock feel right now without the likes of Hop Along or The War On Drugs? Hell, without Beach Slang, mewithoutYou, TWY and Superheaven our albums of the year list would be considerably shorter, too. No one area is more vital to a style of music right now than Philadelphia is to punk rock. It’s doing for punk what Louisiana did for the blues, it’s doing for punk what Seattle did for grunge, it’s doing for punk what New York did for

hip hop. So it begs the question; what exactly is it about Philadelphia that’s led to it producing not just so many bands, but so many truly great bands? “I remember reading this interview when I was younger with Steve from Minor Threat,” Campbell recalls. “He was talking about how when they wanted to play the first Minor Threat show, they knew that to play in DC you had to be pretty good because Bad Brains were there. And if you weren’t up to par, Bad Brains would make you look so bad, by being so much better than you were. “It was like that with Philly bands for me, because there were so many bands that were so good that when you started a band, you really had to not be terrible to even have a shot at being liked at all. “The level of competition was just so high in Philadelphia. The bands we grew up listening to like mewithoutYou, and The Starting Line, and Circa Survive. Those bands were just so good and from right around the corner, so if you wanted to play music, you had to raise your game up to that level.” And while The Wonder Years have been around for over a decade now, that idea of needing to live up to what’s around

you holds just as – if not even more – true today for bands in the area. It takes a certain kind of attitude to look at such a talented pool of bands around you and take it as a challenge, or a level to aspire to, rather than brushing it off as being a saturated market and giving up. A hard-working attitude bred from the town’s blue-collar roots. “There’s a real DIY camaraderie in Philly,” Campbell goes on to explain. “In the suburbs, we had the option to do a bunch of shows in houses and a bunch of shows in basements or garages and we would call places that just had any empty space. So we’d play at a firehouse, the library, gymnasiums and then all these other places like a VFW Hall [Veterans of Foreign Wars hall – a community space available for hire] or just anywhere like that. We’d just call them and ask to rent the hall out. “I was calling these places when I was like 15 years old and telling the people in charge that I wanted to rent them – totally illegally – and obviously I wouldn’t say that we were having a punk rock show, I’d tell them we were having like a community band jam or something. I’d sign the paperwork, I’d end up getting a few of our friends’ bands to play and then I’d have one of

59


our friends draw up a flyer and I’d break into the teachers’ lounge and I’d run off a thousand copies on their photocopier. There was just always that kind of ethic. We didn’t really need anybody else. “I mean, if you look at big music cities; places like New York, places like Nashville, places like Chicago and Los Angeles, there’s like this infrastructure in place and if you want to play music, you have to find a way to fit into GREG that infrastructure, whereas Philadelphia didn’t really have that infrastructure. It wasn’t really about the right way or the wrong way; it was really just the only way for us.

Those four great bands coming out of a town of just 75,000 people isn’t something that happens too often, either. To put those numbers into perspective, if you had the same ratio of great bands to population everywhere, London would have four hundred and fifty three great bands. And it doesn’t. So, how does that end up happening? “It was honestly just one of those things where everyone was in the right place

just came together around the idea of playing honest music because that area that we’re all from is a no bullshit goes kind of area. “Scranton has a very depressed economy, it’s a very depressed city – it gets ranked nationally as one of the most depressing places to live in America. Well, Scranton/Wilkes-Barre. They usually count the two places as one because of how close they are.” “Also, that area seemed to be so hardworking for somewhere so small,” adds Zack Charrette, Captain’s drummer. “I think you fight for it more because there was nothing else to do. Being where I’m from, maybe a half an hour south of Scranton – more up the mountains into The Poconos – where there was nothing. Same thing as Scranton though, shit economy and shit people.

“A L L O F O U R F R I E N D S S U D D E N LY B E C A M E

“Scranton/WilkesBarre were the places to play for us because we had nothing. We had maybe one or two venues that would pop up, maybe be B A R N E T T, T H E M E N Z I N G E R S around for like six months to a year and then they would just up and at the right time,” starts Bobby Barnett, leave because it wasn’t really worth it. guitarist / vocalist of Captain, We’re Sinking. “We were all the same age “We had some cool bands come through, roughly, there were a couple of venues, like Bigwig were really big over there, everyone started playing music at the cause the drummer was from that area. same time and it just so happened that The hardcore scene there was pretty we all got pretty good at writing songs. cool. But at the same time you had these venues that were pay-to-plays “The early shows we used to play, and people just taking advantage the lineups would always be The of kids to make some money. Off of Menzingers, Tigers Jaw, Captain, We’re something they work so hard for and Sinking or the other lineup would be care so much about that they just knew Title Fight, [who are from half an hour nothing else. At the time though, it just away in Kingston] seemed like The Menzingers, and Tigers Jaw. Those were just typical Saturday nights. The shows would be great, but obviously nothing like those line-ups would be now.

R E A L LY

“If we wanted to play shows, we had to book them. If we wanted to put out a zine, we had to put it out. If we wanted photos at the shows, we had to take them. There was just nobody else to rely on. At the time, it didn’t seem strange at all, it was just ‘why would I need anybody else? I can just do all of this myself without them’.” The matter-of-fact-ness in Campbell’s voice as he explains this says everything about the mentality of the city. In Philadelphia, bands don’t take the DIY route because it’s the most honorable or righteous way, they do it because it’s the only way they know. The same holds true a few hours north of Philadelphia in the town of Scranton. Dragged into mainstream pop culture relevancy as the setting of the US version of The Office, the town was put on the musical map in recent years by The Menzingers, Tigers Jaw, Petal and Captain, We’re Sinking, all of whom grew up there together. 6 0 upsetmagazine.com

“Everyone was very supportive, everyone was really cool in helping each other out, and everyone

TA L E N T E D . ”


this is what we had to do, so it was like ‘fuck it, let’s do it’.” Being a part of that must have been pretty special, too. To come from a deprived place and find something to be proud of. “Yeah, it was fucking awesome,” beams Greg Barnett, Bobby’s brother and guitarist of The Menzingers. “We grew up just as kids playing in Scranton, starting bands at like fifteen years old – we were all doing that, just learning to play and playing cover sets in skate parks and stuff like that. And then all of a sudden there was just like two years where all of our friends just suddenly became really talented and developed as songwriters so just listening to our friends and being like ‘wow, this is incredible’ was so fucking cool. “We didn’t really have that many venues though, or we did have in Wilkes-Barre, where we’d always play and then in Scranton there were more like art spaces and practice rooms and stuff. It was cool cause there weren’t really that many bands, but we’d all always play together on the weekend and then just hang out after and write songs together while hanging out at each other’s houses. So it was really just this communal development where we learned from each other how to write songs and how to do the whole music thing together and that was really cool.” “I was having a conversation recently with my friend Kiley, who plays in Petal,” Bobby continues. “We spoke about songwriting for a while and how with us an our friends’ bands it’s always had to be this very honest thing, very open and like ‘if you have something to say, say it’. We all pat each other on the back for that and make sure we don’t shy away from it. That support system is important. We’re all like to each other ‘whatever you want to sing about, sing about it and we’ll be at all your shows’. We all fed off that.” Apart from Bobby Barnett, though, most of those Scranton bands have moved down to Philadelphia now. Greg Barnett and the rest of The Menzingers were there pretty early in their career and the DIY ethic they brought with them from Scranton meant that they’d go on to do great things in the city. “It was hard for us at first, but we made a lot of friends really quickly.” He remembers. “I don’t think we were really accepted instantly, or at least people were like ‘oh this is cool’ but didn’t really invite onto any big shows or whatever,

P L AY L I S T

TIME

PHILADE LPHIA (A ND THE S URROUND HAS PRO ING AREA DUCED S ) O M E T O TA L BANG ERS DON’T JU O F L AT E . S T TA K E OUR WOR D FOR IT , THOUGH . TIG ERS J AW – T H E SUN THE MEN ZING ERS – CAS EY THE WON DER YEA RS – CA M E OUT SW INGING C A P TA I N , WE’RE S INKING – LAKE HOP ALO NG – THE KNOCK MEWITHO U T YO U – M E X I CA N WA R S T R R A D I AT O EETS R H O S P I TA L – CUT Y OUR BAN GS SUPERHE AV E N – I N ON IT TITLE FIG HT – C OX T O N YA R MODERN D BASEBAL L – YO U R G R A D U AT ION

so we just played at people’s houses.” It’s not all stage-dives and whiskey in Philadelphia either. Greg goes on to explain, “There’s a really strong indierock scene here with The War On Drugs, Kurt Vile, Waxahatchee, Hop Along and stuff who are basically my favourite bands, and that scene’s thrived and the punk scene has thrived and it’s great because they’ve both mixed together now. I think it all just comes down to the fact that both scenes have a DIY mentality. Everyone helps each other. Hop Along always play basement shows with their friends’ bands, but then they also do big tours with Kurt Vile, y’know? “Katie Crutchfield [Waxahatchee] would play little house shows and now she’s ended up at venues like Union Transfer. It’s all just rooted in the same DIY/punk ethos, which is seen as just the proper way of going about things around here. You don’t get that in like, Los Angeles or whatever.”

and Modern Baseball also moved into the city from various other locations and it becomes apparent that Philly’s appeal for musicians is known far and wide across America which, for Barnett, comes from the “musicians first, rather than The Machine first” attitude. This blue-collar unity in Philadelphia, something that stretches far beyond music, is exactly why the scene there is as tight-knit and prosperous as it is. The city is affectionately referred to as ‘The City of Brotherly Love’ and this is exactly why. If there’s something that music scenes worldwide can learn from Philadelphia, Dan Campbell sums it up best: “It’s all about friendship and it’s all about everyone working together, because like I said there was never an empire in Philadelphia – we were the empire. Your friendships are everything and your work ethic is everything.” P

It’s interesting that Los Angeles was specifically mentioned there, too, since that’s the city that indie duo, Girlpool recently moved to Philadelphia from. Consider that Waxahatchee, Radiator Hospital 61


LIVE

D E P R A W S N VA TOUR UK T .WA RPE D BY NA ME , NO TU RE. NA BY D RPE WA ITE QU

.

tos: Sarah Louise Bennett

, LO ND ON AL EX AN DR A PA LA CE

eee

Words: Ali Shutler. Pho


Hands up if you forgot your top!

T

he UK leg of the Warped Tour doesn’t make much sense. Its US counterpart is a summer-long trek around the country, bringing alternative music to the masses in a country that’s only just starting to get behind the idea of festivals. Britain, and in particular London, certainly isn’t lacking in festivals. It’s a market teetering on saturation. Despite the huge personality of the Warped name, today lacks identity. “If you wanted to come down for fun, we can’t give you that,” says Mark Holley, Black Foxxes’ vocalist, with a smirk. “We just want to make you sad.” While their lyrical melancholy tugs at the heartstrings, they channel a fiery catharsis that demands a smile. Man Overboard’s set on the East Stage garners a similar reaction as they tear through a set of summertime jams. The Rocket Summer’s theatrical joy sings of grandeur. There’s a mesmerising beauty to the way Bryce Avary conducts himself but as he stands alone on the stage for the final flourish of ‘Walls’, he shrinks inwards and the majesty falters. No chance of being insular for ROAM though, as the band hack off their sugary edges and replace them with a jagged want. Demanding and urgent, ROAM reek of a band about to take their next break and run with it. Beautiful Bodies charge with less forward momentum but their scrappy, playful anthems are still difficult to

No, not you Will.

outrun. There’s a distance to all the performances that isn’t necessarily the fault of the bands though. It feels like a showcase, rather than an organic, breathing event. On paper the lineup is muddled and without a strong identity, Warped fails to tie its disparate elements together. Well, for the most part. Creeper, Moose Blood and Frank Carter & the Rattlesnakes don’t need any help. Shining as individuals at various festivals throughout the summer, today all that triumph comes together in glorious two-hour window. Creeper, sincerely dynamic and pulling the crowd together under their umbrella of escapism leads into the unassuming intimacy of Moose Blood. A year on from the release of their debut, the songs have swelled into meaningful anthems that result in a powerfully moving set. There’s movement for Frank Carter’s set as well but it’s far more physical. Parting the crowd and bending them at his will, it’s another brutally honest performance that ignites something in the crowd. Three very different bands but their shared ethos highlights a personality and a swell that Warped Tour UK should have grasped. The legacy, pomp and production of headliners Black Veil Brides and Asking Alexandria, while impressive, is no match for the overwhelming power of unity that those three bands champion. P 63


FIDLAR + BULLY TH E FO RU M , LO ND ON

eeee

.

tos: Sarah Louise Bennett

Words: Ali Shutler. Pho


“T

his is bullshit,” laughs Zac Carper ending a brief speech that’s punctuated by giggles and a genuine struggle to find the words to explain tonight. “This has bypassed any fucking show we’ve done,” is the closest he gets to describing FIDLAR’s headline date at London’s Kentish Town Forum. But the evening isn’t about glittering occasions or wonderful snapshots: from the opening roar of ‘Stoked and Broke’ until the hammering finale of ‘Wake Bake Skate’, FIDLAR create an experience in every moment. It’s a feat that started an hour earlier. Falling into ‘I Remember’, Bully attack their opening slot with the same gritted teeth determination that’s defined their 2015. Tonight is just another reason to fall under their spell. Tearing through a bulk of debut ‘Feels Like’, the gnarled promise and upfront confession sounds glorious face to face but live, Bully come with a wicked sense of fun. From the pogo of ‘Trying’, through ‘Picture’’s snarl until the ferocious grin of ‘Milkman’, the visiting four-piece captivate the home-team crowd. There are a handful of people not in the surging mass before the stage but even they are glued to the stage. There’s something about Bully that’s utterly compelling. Their bewitching ascent and own sense of wonder is showing no signs of losing steam just yet. There are no stragglers for FIDLAR’s set. Starting from the moment the band take to the stage to set up their own equipment, FIDLAR are greeted with deafening cheers. The admiration that the band inspires only gets louder as the set progresses. Material from their selftitled debut is as vibrant and provoking as ever with the likes of ‘Cheap Beer’ and ‘Cocaine’ party anthems for a Saturday night. It’s ‘Too’ that gives the band the tools to play stages this big and this evening, they’re deployed with perfection. ‘40oz. On Repeat’ ramps up their pop swagger while ‘Generation Why’ give the room a voice. The beer-guzzling, reckless abandon that stands hand in hand with FIDLAR is ever-present but a cover of ‘Undone (The Sweater Song)’ by Weezer highlights a whispering darkness that runs throughout. Their music might just be “three chords and the truth,” but it’s that bullshit-free escapism that makes FIDLAR such an important band. Tonight not only feels crucial, it feels glorious. P

FIGHTSTAR + ARCANE ROOTS EN TH E GA RA GE , AB ER DE

eeee

A

n.

Words + Photo: Jade Esso

sense of finality looms over the damp, cobbled streets that surround the Garage in Aberdeen as Fightstar prepare to complete their biggest UK tour in recent years, proving very much so that the band is alive and well – and positively thriving. Arcane Roots’ Jack Wrench drums with the intensity of a hurricane. The sheer ferocity of his movements leads to the illusion that his band mates are struggling to stay upright as they battle against the whirlwind that sits centre stage. New material from 2015’s ‘Heaven & Earth’ really comes to life, pulsating through the crowd. They bring their audience to tipping point and then take their leave, truly having warmed up the crowd. A broad mix of material from Fightstar’s albums makes up the setlist, including fan favourites ‘Paint Your Target’ and ‘Deathcar’

flowing perfectly alongside material from 2015’s ‘Behind The Devil’s Back’. The band have always combined elements of harmonious beauty alongside their more aggressive moments, and looking around the room, you can see why it works so well. The audience is made up of so many people from such different walks of life, Fightstar have held on to the audiences they grabbed 10 years ago and still managed to set fire to the hearts of a whole new generation. Some people only sing the melodies while others career around the room in an unrestrained act of catharsis that can only be found at such shows. Frontman Charlie Simpson seems barely able to contain himself as he hands his guitar to younger brother Will, allowing him the freedom to roam around the stage. The damp streets did nothing to cool the inside of the Garage which is now slick fresh sweat. The show may be over, but this band are (hopefully) far from it. P 65


4 1 T S E F E TH GA IN ES VI LL E, FLOR ID

A

eeeee Words: Ryan De Freitas.

E

very year, on the weekend closest to Halloween, the University of Florida’s Gators head to Jacksonville to take on the University of Georgia’s Bulldogs in one of the most hotly anticipated college football matchups of the season, bringing with them a huge chunk of the student body that usually occupies their campus town of Gainesville. So, with the streets emptier than usual, and venues downtown with their stages and dancefloors vacant, The Fest rolls into town. Featuring four hundred(!) bands 6 6 upsetmagazine.com

.

s & Marthe Johannessen

Photos: Allissa William

performing, twenty-one venues playing host and untold amounts of $3 tall cans of Pabst Blue Ribbon lager consumed (the PBR was $2 last year – bloody inflation), it’s a weekend like no other. There are pool parties, hot weather, a flea market, and bands playing sets in the hotel lobbies and hotel rooms of anyone willing to accommodate them. It’s truly a pilgrimage for the thousands of punks that pile into the town from all over the world every year. And in its fourteenth iteration, it doesn’t take long for the festival to serve a reminder to its attendees – should they have needed one – exactly why that

pilgrimage is worth the effort. By the time the majority of attendees have registered at the Holiday Inn that serves as HQ for Fest operations – a process that’s completed much quicker than in previous years, one of many efficiency improvements – Beach Slang (eeeee) are by the rooftop pool, tuning up for their Jawbreaker cover set. This is the band’s first set of the weekend – they later turn up at a venue and in the lobby of the hotel they stand atop of for performances of their own material – and it really does set the tone for what’s to come. The mood is jubilant, if almost uncharacteristically sober for


seeing at a festival, but at Fest there’s such a ridiculous amount going on – on the first day especially, the local record shops are a hotspot as Festgoers bid to get first dibs on the most sought-after stock - at any given time that it’s to be expected that there’ll be some tough scheduling choices to be made. Staying at Lot 10 for the next couple of hours isn’t such a difficult choice, however, with mewithoutYou, Title Fight and The Menzingers up next in succession. While mewithoutYou’s (eee) depth and intensity gets a little lost on an outdoor stage – their ‘Pale Horses’ material is far better suited to tightly packed clubs than sunny, open spaces – there are enough fans present who’ve clearly been waiting for this set to ensure a good time is still had. The amount of band members watching on from the ground says a hell of a lot about the weight of their influence, too.

Fest, and those in attendance sing along to every word as if they were watching the real thing. The party starts here. Pianos Become The Teeth (eeee) aren’t exactly the most party-friendly band to follow that up with, but they’re opening Lot 10 – the plaza that serves as the ‘main stage’ of the weekend – and they’re bloody brilliant, so what the hell? Somewhat surprisingly, given the number of hardcore shirts on show, their slower, more melodic ‘Keep You’ material goes down a treat here. The numbers for their set are a bit thinner than you might be used to

Title Fight (eeee) suffer a similar fate when playing their dense Hyperview material, but the first ‘holy shit!’ moments of the weekend come when they break into any of their ‘Shed’ tracks. In fact, the euphoria that overcomes the hundreds huddled tightly against the barrier when they break into ‘Symmetry’ is one of the weekend’s highlights. Up next, Fest stalwarts, The Menzingers (eeeee) do what they do best - get people drinking, singing and moving. Fest is the perfect setting for this lot (they’ve played it for the last nine years in a row) and there isn’t a sing-along more heartfelt than the one for the “I will fuck this up” lines in ‘The Obituaries’ all weekend. A special shoutout to them for playing ‘Trap Queen’ as they exit the stage, too. Seeing so many people with Rancid and Against Me! patches

bopping away from that stage in unison is a beautiful thing. Last band of the Friday night – well, early Saturday morning, since they’re scheduled to take to the stage at 1am – are Captain, We’re Sinking (eeeee). This is a band that Fest is the perfect platform for. They don’t tour as much as the world deserves, but their fans are as devoted as any, and it feels like every single one of them is packed into High Dive with beer in hand for this. From the moment they open their set (before they’re due to) with a cover of NOFX’s ‘Linoleum’, right through their hyper-emotive set, there’s a sense of kinship in the room like no other. Most in this room have been waiting a full year for this set and CWS make sure it is well worth the wait. A special way to end the day. Saturday morning sees local bar, Loosey’s playing host to The Pineapple Party, a gathering curated by local punk, Jason Guy Smiley. Bands play acoustic sets, laughs are had and drinks are served in pineapples. One such band that make a surprise appearance this year are The Menzingers (eeee) who, visibly hungover though they may be, play a mostly-by-request set that sets the day up perfectly. As you leave Loosey’s, you’re directly facing the stage at Lot 10 where, right as the Pineapple Party is finishing up, four Ninja Turtles take to the stage. That’s because the Saturday at Fest also happens to be Halloween – which probably explains why there were two Bret Harts, a few Ghostbusters and one of the hooded blokes from Brand New’s ‘Devil And God...’ album cover drinking from fruit, actually. Those Ninja Turtles happen to be California’s Bad Cop / Bad Cop (eeee), who play to a surprisingly sizeable crowd, considering it’s only 3pm. They deliver a hugely fun, classic Fat Wreck slice of punk for those watching on. Someone in their crew was dressed as Master Splinter, too. That’s commitment. From then on, the day flies by as the most relentless schedule gets into full flow. Prawn (eeee) and The World Is A Beautiful Place... (eeee) put on very slightly under-attended, but in no way under-performed sets at Cowboy’s, while Modern Baseball’s (eeeee) The Killers cover set at High Dive is every bit as ridiculously entertaining as that sounds – especially when members of The Menzingers (they were bloody everywhere) and Captain, We’re Sinking 67


join them onstage. It’s a rush back over to Cowboy’s as MoBo’s “I’ve got soul, but I’m not a soldier” rings out, where Superheaven’s (eeee) Taylor Madison takes his time in between songs during an excellent set to lament the fact that that particular venue allows smoking indoors – something that clearly irks multiple bands that play the stage that weekend. It doesn’t seem to ruin the enjoyment of many in the audience, and many even put out their cigarettes at his request. Nicely done, Festers. As a reward, Superheaven cover Weezer’s ‘You Gave Your Love To Me Softly’, which went down a treat. The Hotelier (eeee) take to that same stage later that night and put on one of the most emotionally intense sets of the weekend. ‘Dendron’, ‘Among The Wildflowers’ and ‘Your Deep Rest’ see the impassioned reaction they deserve and as a closer to night two, there’s not much more you could ask for. Jeff Rosenstock (eeee) gets the final day off on the right note with a Lot 10 set that sees him and his band getting through a mega-posi setlist of his own material, as well as a frankly absurd cover of System Of A Down’s ‘B.Y.O.B’. It’s a curveball for sure, but at Fest, you expect the unexpected. Up next on the same stage are PUP (eeeee) who continue the apparent theme of the weekend by covering Beastie Boys’ ‘Sabotage’, bringing Rosenstock back out in the process. Not that they need to rely on covers to get the crowd going, though, as ‘Reservoir’ and ‘Guilt Trip’ are built for festival stages. There was a sneaky play of a new song too, which sounded great, leaving many in the audience buzzing with excitement about their upcoming record. Third into another ridiculously strong run on the main stage are Spraynard (eeee) who along with Modern Baseball (eee) who follow them (playing as themselves this time), attract 6 8 upsetmagazine.com

the youngest crowd of the weekend. They’re also the most captivated crowd, however, and not a single word of either set went unsung by the legions nearest to the stage. Another mad dash around venues sees Manuel Urdaneta of Henrietta (eeee) playing a beautiful superintimate solo set at the Civic Media Center (which is a local community hall/ library, primarily stocking particularly left-leaning literature), Elway (eeee) on top form and Donovan Wolfington visibly winning over everyone in attendance at The Wooly, before Chumped (eeeee) take to the stage for what would be their last ever performance. Breaking the news of their imminent break up on their Facebook the previous day, Chumped’s set was wrought with emotion. It was truly moving to see vocalist/guitarist, Anika Pyle speaking through tears thanking everyone who had helped them along their way. In keeping with the Fest spirit, though, the potentially sombre affair went from heavy-hearted remembrance to high-spirited celebration in no time as the band played what is probably one of the best sets of their all-too-short career. Then, for the final set of this year’s Fest, things get weird. Billed as ‘The

Christian From The Hotelier Supergroup’, Christian (From The Hotelier) took to the stage with Jeff Rosenstock, members of TWIABP, Pet Symmetry, High Dive and Football, etc. and announced the ensemble as his “new band, The Bottles”. After a count in – and a red herring cover of the opening lines to Saves The Day’s ‘At Your Funeral’ – The Bottles went into the only song they’d play that night: A twenty minute rendition of ’99 Bottles Of Beer On The Wall’. Clearly drunk beyond belief, The Bottles ended up counting about 134 bottles of beer on the wall, hilariously stopping at 82 to play an impromptu cover of ‘Dammit’ and 41 for a version of ‘Fat Lip’ (see what they did there?) that I’m not even sure the entire band were in on. Members of Modern Baseball, Spraynard, and about fourteen others joined them onstage during those twenty minutes, and as bizarre as it was, it summed up Fest perfectly. It’s chaotic, it’s surprising, but ho-ly shit, you will not - as a fan of punk music in any of its forms – have more fun anywhere else in the world. P


! S O N I S E P M LOS CA + OSCAR + LOS BRUISING CAMPESINOS! VS. BRUISING BA N D VS BA N D

TH E SC ALA, LO ND ON

eeee

A

tos: Jonathan Dadds

Words: Ali Shutler. Pho

s Bruising take to the stage to open proceedings, a majority of the crowd are still queuing to get in. Undeterred the band start promisingly with their surf meets slacker pop and begin to build up pace. A tease of Hole’s ‘Celebrity Skin’ sees the band slip comfortably into a groove. By the time the shotgun finale of ‘Honey’ and ‘Emo Friends’ comes around, the Scala is almost at capacity and all eyes are on Bruising. ”Go tell your friends,” the band offer. With a set as glorious as this, you can bet the audience won’t need telling twice. Swapping the beaming smiles of Bruising for a more insular melancholy, Oscar’s rich vocals flood the room and demand attention. He too takes a few songs to warm up but by the swaying pendulum of ‘Breaking My Phone’, he’s firing on all cylinders.

Madonna’s ‘Like A Prayer’ soundtracks the entrance of Los Campesinos! From the opening swing of ‘For Flotsam’, the Cardiff rabble demand a reaction. It only gets louder as Los Camp! fire out hit after hit. With no new record to promote, the band are free to dart across their five-album back catalogue and they don’t put a foot wrong. From the swirling demand of ‘By Your Hand’ through the twinkling dance of ‘Cemetery Gaits’ until the ragged charm of ‘Sweet Dreams, Sweet Cheeks’, Los Campesinos! take the solitary heartbreak that their records inhabit and replace it with a carnival. They’re aware of the mortality of both themselves (“This song’s about how each and everyone of us is going to die alone” – ‘Miserabilia’) and their career (“This is from that record that you all pretend you still like because it gives you a sense of vitality” – ‘Hold On Now, Youngster’) but the drum kit doesn’t lie. Los Campesinos! for life. P

Ben, Bruising: Favourite band you’ve ever toured with? Gareth, Los Campesinos!: Parenthetical Girls. I really do think they’re one of the greatest bands of all time. Ben: Best van reading/watching/ listening? Gareth: Probably Blink 182 singalongs in the van. Gareth: What’s the best thing to do when playing live a song that fades out on record? Ben: Obviously everybody gradually play quieter and quieter until the song is no more. Alternatively I’d go for a nice half time final repeat of whatever the refrain is then let it ring out, New Found Glory style. Gareth: Worst etiquette from a band you’ve shared a bill with? Ben: We usually drink everyone’s beers, so we’re the ones with bad etiquette. Enjoy that. Read the full Vs. on upsetmagazine. com.

69


E WORSHIP & TRIBUT

GLASSJAW WHAT MAKES

SO IMPORTANT?

BOSTO N M A N O R, F U N E R A L FO R A F RI E N D, H I N DSI G HTS A N D N I G HT VE RSES E X PL A I N W H Y Y O U S H O U L D C A R E T H A T G L A S S J AW A R E B A C K .

T

he recent news that Glassjaw are heading out on tour with Coheed and Cambria has caused ripples of excitement. It’s the biggest commitment the band have undertaken in years and fans are already speculating about what this means. The last Glassjaw release was back in 2011 but that hasn’t stopped the band maintaining an unrivalled relevance. We got our pals to explain just why Glassjaw are so important. Funeral For A Friend’s Matt DaviesKreye is looking forward to Glassjaw’s return. “They’re a phenomenal band who have always been pretty unique in how they’ve developed live over the years.” Boston Manor’s Mike Cunniff shares that view, explaining that, “Glassjaw tours and shows are a total rarity. I believe that during their career they have never been able to tour as much as they would have liked to especially outside of the US due to Daryl Palumbo‘s constant struggle with Crohn’s Disease.” “It’s exciting any time a band I’m a fan 70 upsetmagazine.com

of starts playing shows after not being out for a while. I’m hoping to be able to catch a show,” reasons Night Verses’ Reilly Herrera while Tom Richfield from Hindsights is remaining cautious. “Glassjaw have a habit of cancelling so I’ll curb my enthusiasm. I’ve been hurt before…” For a band described by some as the “best band of the last 20 years,” Glassjaw understandably mean a lot. “They play their music with so much conviction and intensity,” starts Mike. “They are so loud but also so light and chill in places. They were (and still are) such an innovative, influential and important band in the scene. Daryl Palumbo’s constant battle is well documented through their music. His pain and anguish can be heard in every single scream in ‘Everything You Ever Wanted To Know About Silence‘ and their musicianship is outstanding.” “Well, to put it simply I love them. They’re an incredibly important band whose open, emotive hardcore caused a huge reaction in bands across South Wales during the early dawn of

the millennium. I think they floored everyone,” explains Matt. “In addition to their music being therapeutic for me when I was younger, Glassjaw has always written real and original music. That concept is SO lost in today’s ‘underground’ rock music it’s ridiculous. To have an original, heavy band in the current musical climate means a lot to me,” adds Reilly while Tom believes “They deserve a medal solely for helping to kill nu-metal, but they’re also one of first few bands to do post-hardcore (other than Quicksand) without being pretentious arts-degree bullshit.” Influential is a phrase that’s casually tossed about, but Glassjaw couldn’t be described as anything less. Read the full feature online at upsetmagazine.com. Glassjaw will tour the UK with Coheed & Cambria and Crooks next year, catch them at: Cardiff Uni Great Hall (31st January), Manchester O2 Ritz (1st February), London O2 Forum (2nd February). Tickets are on sale now. P


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