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04 Editorial06 British Wildlife Festival08 Hawk Eyes12 Sam Airey15 Leeds Fest with Melvyn Benn17 Passport Control19 New Pose - Old School Fanzine20 The Spills24 Honour Before Glory28 Reviews34 Live Reviews38 Wombeatz - This Women’s Work
Vibrations is
EditorRobWright-bert@vibrations.org.uk
DesignBenMcKean&NiallHargravedesigners@vibrations.org.uk
Picture EditorBartPettman-bart@vibrations.org.uk
Reviews EditorSteveWalsh-records@vibrations.org.uk
Live EditorTimHearson-live@vibrations.org.uk
Web EditorMikePrice-webed@vibrations.org.uk
Web DesignSamHainsworth-ask@samhainsworth.com
AdvertisingTonyWilby-tony@vibrations.org.uk
Founded and Published byTonyWilby-tony@vibrations.org.ukJackSimpson-info@vibrations.org.uk
www.vibrations.org.uk
ContributorsTomMartin,RobWright,SteveWalsh,BartPettman,TimHearson,NeilDawson,MikePrice,BenjaminManey,EllieTreagust,AaronJones,CarlFleischer,JadeTill,RochelleMassey,SamSaunders,EmmaQuinlan,GilesSmith,GregElliott,ChrisEnsell,BenjaminRutledge,MartinHaley,JonathanLees,JenessaWilliams,StacieLloyd,HanaWalker-Brown,GaryWolstenholme,KateWellham.
Cover PhotographHawkEyesbyTomMartin
The Search
Vibrations is looking forAdvertisers-2000magazinesseenbymusicloversacrossLeeds.Contacttony@vibrations.org.uk
Writers,Photographers,ArtistsandSubeditors-Comebeapartofit,contacttony@vibrations.org.uk
Send demos in to:SteveWalshVibrationsMagazineEigerStudiosNewCravenGateIndustrialEstateLeeds
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Helloreaders,
Thisismysecond,possiblythirdattemptataneditorialasthefirsttwowereshit.I’mnotpromisinganythingmoreforthisone,butI’mhopingithasmoregagsandswearinginitthanthelasttwo,whichwerealmostfreeofboth.That,Ithinkyou’llagree,justwon’tdo.
Anotherreasonforanotherbiteatthecherryisthatthisissueissochocfullofqualitywriting,photographyanddesignthatIfeelIwouldbeinsultingtheeffortsofallconcernedbyturninginahalfarsedpieceofwork.
Itshouldbewholearsedornothing.
Imean,justlookatthisqualitypublication.Goon,closeitup,oglethefinelookinggentlemenonthefront,feelthequalityofthepaper,marvelatthesuitabilityofthetypeface,thensearchfortheprice.
Stilllooking?That’sright,youwon’tfindone.
Thenonceyou’vefinishedthisgothroughthemagfromstarttofinish–youdon’tevenhavetostoptotakeapissasthesizeofVibrationsisdesignedspecificallytobeheldonehanded,leavingtheotherhandto...no,stopthat.That’sjustnotright.Oh,youdirtybugger.
Areyoufinished?Good,thenIshallcontinue.Ourincumbentgovernmentiscurrentlydoingit’slevelbesttostripthejoyfromeveryone’slife(look,I’mallforapriceperunitapproachtoalcoholaslongasitliterallymeansjustthat–40paunit,soapintofAbbotAlewouldbe£2.00–aperfectlyacceptableprice.JaipurIPAwouldbejustunder2.40andthatIcoulddefinitelylivewith)andprovideuswithquitefranklyshoddyvalueformoney(Iknowmyminimumwagewillincurlesstax,butI’mgoingtoendupspendingthedifferencemadeonoverpricedunderbrewedbeers–thanksalot,Camel-leg)butwehereatVibrationstowersarededicated,yesDEDICATEDtoprovidingthesamevaluethatwealwayshave.
Letmepresentyouwithalittleequation.StephenHawkinssaidthatyoulosehalfyourreadershipforeveryequationyouincludeso...gladyoustuckaround,bothofyou,butI’mgoingtoloseoneofyounow:
Qualityofproductoverpriceofproductequalsvalue.
Well,allyoumathematiciansoutthereshouldknowthatifyoudivideanynumber(exceptzero)byzeroyougetinfinity(actually,I’vehadafewargumentsaboutthis:ifyoudividezerobyzero,doyougetone?Thinkonthat,ifyouwill)soconsideringthatyoupaidnothing,nip,zilch,nix,nishpenceforthispublication,youareholdinginyourhand...infinitevalue.
Well,fuckmyoldboots.
Ihopeyourealisehowluckyyouaretobeabletotouchtheinfiniteonabimonthlybasis,andhereatVibrationsTowerswewillendeavourtoprovidethesamelevelofqualityEvery.Bloody.Time.
NowbeforeIletyouoffthehook,afewhello/goodbyes.Firstoff,say‘hello’toournewdesigners,BenandNiall–Ithinkyou’llagreethatthey’vedoneastirlingjob–longmaytheyreign!AndgoodbyetoLeedsGuide,cruellycutoffinitsprimeby...venturecapitalists,Ishouldn’twonder.Booooooooo!
Nearlydone.Acoupleoffestivalstonotefordifferentreasons:LiveatLeedspromisestobeafineaffairagainthisyear–Imayventureout,butIamafraidIamtoooldtodothemarathondasharoundthatisL@L–mightjustholeupinavenueanddrinkuntiltheyaskmepolitelytoleavebecauseIhaven’tgotanarmbandandasmallpuddleisgatheringaroundmyfeet;andthatPeterWatermandebacle,ShitFactoryLive–Steps,2untalented,JasonPissingDonovan,RickCockingAstley?WTF?Whenthereisnomoreroominhell,thedeadwillwalktheearth.StayinLeedsandgoandseesomequalityoldschoolbands,likeHumanLeague,Heaven17andTheLevellers(guiltypleasure–greatliveband)atMFest–yes,Morrison’s;Iknow,hardtobelieve,butthere’llbesometopscrantoo–veryimportantforamanofmyexpandinggirth.
Sooffyougo–enjoythemag.Ifyoureallylikeit,thinkaboutgettinginvolved–bepartoftheinfinite...
Rob WrightEd with god-complex
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Herein be a recollection of the sixth and final British Wildlife Festival. May she rest in peace. Feel free to reflect on these heart-warming and fitting testimonials from Benjamin Maney, Ellie Treagust and Steve Walsh. Oh well, there’s always Brainwash…
Friday 2 March – Brudenell Social Club
Firstup,Super Luxury,alo-fifourpiecethatstartedtheirsetwithwarmupscreamsanddiscordantguitarnoiseleadingintoamurkyopeningnumber.Notricks,frills,ormelody.Isupposethepre-gigstretchesshould’veforewarnedthecrowdthatthefront-manwouldspendthesetinamongstthem,wailingfromtabletops,withnoregardforthemicrophoneleadthatgotentangledaroundatleastfivethroats.It’sallfunandgames‘tilsomeonegetsdecapitated,boys.
Bad Guys.Double-headedguitars,brightredjumpsuits,classic,clevermetal.Theymanagetousedroninginterludes-oftendetrimentaltoaliveshow’satmosphere-perfectly.Somuchsothatoneoftheirbreaksledtoadistinctlyprogrockoutrothatmust’velasted17minutes.
Imagineifyouwill,themostpainfulheadacheofyourlife.Now,imaginereallyquiteenjoyingit...Ultimate Thrush,asIcanbestdescribethem.Threepeopleshouldn’tbeabletomakesuchahugesound,butwiththehelpofasmallclarinetandachaospad,theymastershort,gut-punchingpost-punk,notforthefaintheartedorthosepronetohyperventilation...SomewhereinruralAustria,Mozartturnedinhisgraveastheclarinetwasdesecratedinsuchaninnovativefashion.
Threegirls,oneguy?Divorce’smusicwasevenfilthierthananadultfilmtitledthuswouldundoubtedlybe.Thetonegotlowerandthecrowdmovedinwhentheirhomegrownbrandofcaptivatingdebaucherytookhold.Theinevitablebrawlbrokeoutinthecrowd,mirroringtheunharnessedadrenalineoftheheadthrashingalt-punk-metal-hardcore/indefinable-brashness.
Finally,if‘liveviasatellite’isthefutureoflivemusic,thenitshouldALWAYSbeDisasteradio.Playingasetcontainingthemostcheerfulelectronicaevermade,headliningforthedarkestmetalbandsontheplanet.Becauseit’dALWAYSbethishilarious.Benjamin Maney Saturday 3 March – Brudenell Social Club/Royal Park Cellars
Well,whatavariedprogrammeSaturdaywas.ItwasreassuringtoexperienceafestivalattheBrudenell/
RoyalParkwheretheactsdidn’tallsoundthesame.Thatdoesn’tmeantheywereallgood,butanyline-upthatincludesYugoslavian Boyssmacksofsomethingreasonablyradical.Theprogrammed6.30startmighthavebeenalittleearlyfortheirset(whichinvolvedthedestructionofvariousfoodstuffs)buttheywerealreadyrunninglate.Theirsetincludedfishfingers,twosalamibatons,chips,atunasandwich,fourdrummers(twoofwhichwerewearingson-of-Godthemedrobes),acowboy,amod,oneassassinandalotofpinkhair.I’dbetemptedtosuggesttheirmusicalvariationbetweensongsisnonetooimportanttothemorthecrowd,buttheywereeasilythemostentertainingbandoftheday.TheyscreamedandcavortedtheirwaythroughthesetanddespitehavingdoubledinsizesinceIlastsawthem,itwasn’ttoadddiversity,justtoadddrums.Immense.
Teeth of the Seaprovidedaverydifferentslantontheplayingofsongs,bothmusicallyandpractically.Idoapproveoftheirstagelay-out(allmembersinonelineacrossthefront)andalthoughtheythrewtheirallintoatypicallyelectronicset,Icouldn’tgetasexcitedastheywere.Theirmusicdidhaveadecentall-encompassingqualitytoit,butmoreinaphysicalsensethananythingelse;itfeltalittlelikewewereunderwater.UnlikeYugoslavianBoys,thisformeisonebandthatisbestservedrecorded.
Thenextband,Cold Pumas,Iknewabsolutelynothingabout,buttheyturnedouttobeanotherofthenight’spleasantdiscoveries.Theyplayedmotorikrhythmspackagedupinanindieimage(whichdidnotdothemjustice)toaslightlyunresponsivecrowd(whoalsodidnotdothemjustice).Thereweresomeprettysoullesssoundingvocalsthatechoedoverthemusic,butasaset,itwasfarmoreabsorbingthanTeethoftheSea.Theonlydownsidewasthattheycouldbeviewedasalittledullcomparedtosomeoftheotherbandspresent,butformethediversitywasverymuchappreciated.
NextwereHookworms,whobroughtanentireshipmentof‘60spsychadelicrockwiththem.Anditwasloud.Very,veryloud.Therewasalotofreverb.InmynotesfromthesetIhavewritten“Ohwowasongended.Ohwait,noitdidn’t.”Idon’trememberanyactualmomentsofsilence.ItwasatthisstagethatIregrettednotbringinganyearplugs(butwhat’srockandrollaboutthat?).Theygotveryintotheirmusicwhichisdefinitelyagoodthing,butunfortunatelyIdidnot.
ResolutionswerequicklydashedbyBlacklisters,andIhaven’tseenmanyworsebandsattheBrudenell(apartfrommaybeShiningat2010’sBrainwash).Therewassuchanirritatingwaveofarrogantnonchalancethatcamefromthesingeranditwasimpossibletofocusjustonthemusic,andforawhileIwaswonderingwhetheritwas
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performedinallsincerity.Onebeginstowonderwhatthepointofwritinglyricsisifyou’rejustgoingtoshoutthem.Whynotjustshout?Itwouldbeeasier.ToquoteJohnBetjeman,“I’msureit’salldonewiththebestpossibleintentions,”butitdidjustthrowmebacktomyTrivium-infusedyoungerteenageyears.
Andfinally,theverylateheadlinersZun Zun Egui.Withtheirusualbizarremixofstyles,languagesandfootwear,it’shardtoknowwhichgenretodefinethisbandby.Ofallthegroupsthatperformedthisevening,theycameacrossasthemostsophisticated(thoughIsuspectthisisbecausetheyare).It’sreflectedintheirsongwritingability,whichhasthembuildingupsongsoutofagreatmanylayersandelements.ThesongsareprettyunpredictableandhalfthetimeIhavenoideawhatheissingingabout(becauseit’sinadifferentlanguage,notbecausehe’sshouting).I’veseenthemcreatemoreatmospherethanthisbefore,butitwastheendofthenightandrunningverylate.ApartfromYugoslavianBoys,theywereeasilythemostinterestingbandoftheday.Ellie Treagust
Sunday 4 March - Oporto
ThelastdayofthelastBritishWildlifeFestival?Sayitain’tso,Adam….
ThejaggedmathrockofMagnapinnagetsthingsunderway.Theyplayadry,gnarlykindoffunkthatfeelslikeyoushouldbeabletodancetoitbutindoingsowouldsurelyleadtomultipledislocations.Fortunatelythatleavesthesynapsesinyourbrainfreetorevelinthejoysofband’sexplosive,unpredictablemusic.
ManchestersextetStanger Sonutiliseabraceofkeyboardsandextensivepercussiontoopenwithaformlesswashofnoodlingthatthreatenstodisappearupitsownjackplug,untileverythingmorphsintoagigantic,drivingkrautrockygroovethatseemstostopprematurelybeforeitblowstheroofoff.Thereafterthebandtakesimpleideasandworkeachintoasimilarlyepicbutcontrolledfrenzy.LankysingerGarethSmithstandslikeheshouldbeholdingacigaretteandreadsratherthansingshissongsinadeadpan,detachedvoice.Themusicandlyricsalmostsoundlikethey’re(partiallyatleast)improvisedandsongsseemstostopafteranodfromSmithratherthananythingelse.
JeffTSmithmayhaveabandonedhistruckloadofinstrumentsandeffectspedalsforthisgig,buthe’sstill
tradingasJuffage.So,apartfromviolaaccompanimentfromJennaIsherwoodonthefirsttune,it’sjustJeff,hisuncharacteristicallyreined-inguitarandhisfantasticallyquirky,idiosyncraticsongs.Andwhatatreatitturnsouttobe.TherealwaysseemedtobeamismatchbetweentheliveandrecordedversionsofSmith’ssongs;it’squiteasightwatchingSmithassemblinghislivesheetsofnoisebuttheracketdoestendtodetractfromtheactualsongs.Here,withouteventheminimalmusicalbackingusedondebutalbum‘Semicircle’,thesongssoundalmostfreeformandinvestedwithafragiletension,Smithmodulatingthevolumeandattackofhisguitarandvoicetocreatedramaticnewreadingsofthesongs.
It’sdifficultnottolikethesoundofGalaxiansthumpinginstrumentaldiscofunk,butthisduoofJedSkinneronsynthsandprogrammingandMattWoodwardondrumsdon’treallydevelopwhattheydomuchbeyondtheopeningbarsofthefirsttune.
Ontheotherhand,Bearfoot Bewaresongshavesomanyideasandsomuchenergycrammedintothem,theyclearlyfinditdifficulttocontainthemselvesintheirgivenformandsoundlikethey’dbehappytothrowthemselvesoffacliffjustforthehellofit.GuitaristTomBradleyandbassistRichardVowdenbouncealloverthestagewhenthey’renotyellingintotheirmic,andMichaelOsbournetriesdesperatelytoholdeverythingtogetherfromhisdrumstool.It’sathrilling,riotousridealright.
SheffieldquartetWoodersonhavebeenknockingaroundsince2008butit’shardtoseehowtheirderivativeguitardrivenrocksongshavemanagedtosustainsuchalongcareer.Thesongsarebuiltaroundmusicalandlyricalclichésandseemdevoidofanyrealsenseofdynamism.Dull.
LondontrioGum Takes TootharewellestablishedontheEuropeannoiserockcircuitandprovideafittingclimaxtothefestival.ThomasFuglesangandJaxonPaineplaytwodrumkitswithonewiredupandthesoundfedthroughhomemadeelectronicinstrumentstobemanipulatedandmessedaboutwithbyJussiBrightmore.Thedrumsandtreatednoiseproduceagiganticsoundthat’spartnoiseritualandpartecstaticrave.BrightmorepunchestheairlikeatrippedoutDJ,hismangledvocalsbarelyheardoverthethunderingdrums.Steve Walsh
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Last time we met them, we covered them in mud and inadvertently showered them with glory. Now it looks as if they are about to take the world out for dinner and dancing and seduce the hell out of it. Rob Wright tried vainly to resist their charms in the name of quality journalism...
IamnotsureifyeoldemansettingofTheVictoriaHotelisthebestplaceformeetingoneofLeeds’mostintense,ultratechyetsoftlyspokenmetalsbands,especiallyseeingasitisaSaturdaynightandtheplacehassuddenlyfilledwithsuit-wearing,bellowingtwats,butitishandyforfreeparkingonaSaturdaynightandservesDandelionandBurdock.Thisarethesortsofthingsyoustartmakingdecisionsbasedonwhenyougetold.
ThoughIamsurethatIwillnotbethankedforthis,HawkEyesarenospringchickenhawkseither–IhavefondbutvaguememoriesofthemastheywereoneofthefirstbandsIeverwroteareviewof,backin2005.Oneofthemworeamask.ThatmuchIremember.IalsorememberthatPaulusedtodrumaswellassing,butnowMattReidisintheband...
“MattisnolongerinHawkEyes,”announcesPaul,whosebirthdayistonight(soyoucanimaginehowpopularIwillbeasaresultofkeepinghimfromhisirresponsibilitiesandfestivities).Woah,letmejustgetmyheadaroundthis.I’msurroundedonallsidesbyHawkEyesinthisdarkwoodpanelledboothanddon’thaveabeerinmyhand,andiftheykeeplayingannouncementslikethatonme,ImayneedsomethingalittlestrongerthanDandelionandBurdock.“It’salltotallysanctioned,”Paulreassuresme,“he’sjustdecidedhewantstodosomethingelse,”whichseemsentirelyinkeepingwithHawkEyes’ethos,ifthereweresuchathing.SteppingintoMatt’sshoeswillbetheabsentSteveWilsonofJapaneseVoyeursfame.Interestingtimes...
Forthemorekeeneyedreadersamongyou,IshouldpointoutthatthisisnotthefirsttimePaul,RobandRyanhavegracedthesepages.Backin2009,theymadethecoverwithapicturefromDannyNorth.JokinglyIsuggestthis‘made’them.
“Ithinkifwehadn’tgotthatatthattime,”confessesPaulquitesincerely,“afterscurryingawayforyearsandyearsforbasicallyourownbenefitandthenallofasuddenpeople,inthistownespecially,weresaying‘thisisquite
good’...We’rereallygratefulforthat.Wegenuinelyare.”Ifeelfairlythrownbythisandhaveastrongurgetoshufflemynotesorsomething.Tocovermyembarrassment,Igoontosayhow,regardlessofthat,2009wasagoodyearforthemanyway:asigningtoBrew,alivelyslotatLeeds,thezombievideo...andthenanabruptnamechange.
Roblaughsatthis.“Wedon’tliketomakethingseasyforourselves.Thethingis...”hepausesalmostdramatically,“wedidn’treallylikethenameandmovingforwardwecouldseesome...technicalproblemswithit.”
ChickenhawkwasamilitaryoperationinVietnamwhichiscurrentlyundergoingthecelluloidtreatment.ItisalsoanAmericantermforapredatorygaymanwholikesyoungguys.
“Thataswell,”saysRobuncomfortably,“ifwewantedtotakeourmusicoverthere...peopletalkingaboutabandcalled‘Chickenhawk’andallthatconnotation...”heletsithangforamoment,“butitwasn’taboutpanderingtowhatweneededtodo...it’swhatwehadtodoourselves.”
HawkEyesareveryclearonthispoint–thereisnograndschemeinvolved;infact,Paulgetsquiteincensedabouttheimplication:“There’sneverbeenaplan,”hesaysfirmly,”andwe’vebeenveryluckytogetwhereweare–we’veworkedhard–butwe’veneverhadthestructureandbackingof...corporatemusic.We’vegottowherewe’vegotbydoingabitofthis,abitofthat...andthere’vebeenmistakesthatwe’vemade...yeah,it’sbeenprettymessy,butunlessyou’reactuallygeekyenoughtogoandreadaboutit,you’renevergoingtoknowhowmessyit’sbeen...butthat’spossiblywhywestillexist.”
Eventhoughtheysaythereis/wasnoplan,the(almost)re-releaseoftheirdebutalbum,‘Chickenhawk’asModern Bodiesdidseemtohaveacertain...shapetoit?
“Wegotpickedupbythismanagementcompany,”saysPaul,“theyasked‘whathaveyougot?’WeplayedthemtheCDandtheysaid‘hasanybodyheardit?’Sotheywantedtorereleaseit...andweweretotallyagainstit.”Somuchsothattheydon’tactuallycountModern Bodiesasaseparatestudioalbum.Paulsighs.“Itfeltlike...stalling,notgoingforwardorbackward,itdidn’tmakeanysensetoustoputitout...andsomeoneshowedusthereality–we’dsold200CDsbutwho’dactuallyheardit?”Asabodyofwork,itactedasacallingcardandarequiem,itseems.“Modern BodiesisChickenhawkisdead,itwon’thappenagain...notthatweknewthatatthe
DREAMERS, NOT SCHEMERS...
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time...”Paullaughsfreely,consciousofhisownnearslipintocontradiction.
ButModern Bodiesismostdefinitelyanending,asmuchas‘Ideas’isabeginning,andinthespiritofthenew,itisevenbeingsoldinarelativelynewfashion.Thoughthealbumisessentiallypaidforalready,thewholethingisbeingsoldthroughPledge.“It’sawayforustogivemorebacktothefans,”explainsPaul,“thewholepointofitisthatpeoplecanchoosetointeractwithus.Peoplecansay‘Iwantthat,Iwantthat–itmakesiteasierforfanswhoreallycareaboutittobuyintoitatthebeginning.”Adifferentapproachtomarketinginadifferentmarket?“Inthelasttenyearsthere’sbeenamassivechangeinthedynamicofhowthewholesystemworks,”Paulcontinues,“youcan’tjustknockoutagreatalbum,putalovelycoveronit,getsomegoodpressandexpecttoshiftloadsofcopies,peopledon’twantthatanymore.”
“Peopledownloaditforfree,”saysRobbrusquely,“that’sageneralisation,butpeoplewhousetobuymusicliketeenagersoryoungadultsdownloadit.Inthemajority.Soareleaseismorelikeacallingcardtogetyoumoretoursandactuallydrivesomerevenuebackintothebandtokeepitgoing.”
Thereareplentyofgoodreasonstobuythisalbumthough,onebeingPaul’svocals,whichhaveundergoneametamorphosissinceModern Bodies.Iaskwherethisamazingvoicehascomefrom.Hisfirstanswerisayarninvolvingoldwomen,fruitandmagicalpowers.Hissecondisabitmorecoherent.“WhenIwaselevenIjoinedthechoralsocietyatschool...IhadbigbracesandbiggingerhairandIsangsoprano,”headmits,“IdidHandel’s‘Messiah’initsentirety.I’vealwaysbeenabletosing,butthatwasn’tthepointofthemusicwemade.Theneveryonewaslike‘let’strysomesingingnow’,becausewe’dgainedinconfidenceasaband...Again,itsoundslikeit’splanned,butit’sjustahappycoincidence.”
“Wethought‘let’snotdoanotheralbumfullofchugging
guitars...’”saysRyanacrossthetable,whohasnotbeenentirelysilent,buthasbeenalmostentirelydrownedoutbythenoisyclientele.
“Wecandodifferentthingsonaguitar,”laughsPaul.
Andwithanewstylecomesadifferentlabel–FiercePanda.Alltold,HawkEyeshavebeenonatleastfourlabels.Paulshrugs.“Idon’tthinkbandsneedtosigntoonelabelforlife,”hesays,“whateverworksatthetime.Itcanbequitedangeroustosigntomultialbumdealswithlabels,becauseyou’rethenbeholdentothem.”It’strue;I’veheardaboutlocalbandswho’vegotlockedintothewrongdealandsufferedtheconsequences.ButHawkEyesnarrowlyavoidedmakingthesemistakes,makingthemwiseintheeyesoftheirpeersandverythoughtfulonthealbum.
“Alotoftherecordisaboutthat...”Paulscrabblesforadescription,“thatfeelingofhopelessness...reallynotknowingwhereyou’regoingandmoregenerallytheworldnotknowingwhereit’sgoing.There’salotofstuffonthere,certainlylyrically–Ifeelsorryfortheotherguyssometimesbecausetheydon’tknowwhatI’mgoingtodolyrically...aslongasthewordsfitandthemelodysuitsthemusicI’mprettymuchallowedtodowhatIlike–Itrytoinvolve[theband]asmuchasIcan–Itrynottomakemylyrics‘thePaulAstickshow’becausethat’snotwhatthebandis–thebandisfourpeople–soit’sreflectiveofthemoodsofthemusicandallthe
experiencesthatwe’vehadtogether,ouropinionsandvalues.”Butdespiteoraswellasthis,itisstillfun,just...seriousfun.They’vealsojustreleasedafinalEPwithBrewcalledMindhammersasakindofsafetyvalvefortheircreativeoverflow.Consideringwhatthey’vegotonthego,it’samazingthey’vefoundtimetotalktomeatall.
OurtimeisnearlyupandIcanseethatPaulisanxiousto‘enjoyhisbirthday’,soIdon’twanttokeepthem,butIstillfeellikeI’vemerelyscratchedthesurfaceofHawkEyes;they’realmosttoomercurialasaband.“Idon’tthinkweshoulddefineourselvesasonething–Ithinkthat’sveryimportantforaband,”explainsRob,“notgoingoverthesamegroundtwice–let’sprogress.”
It’sallverygrownup,veryforwardfacing.ThenoneofthebandmemberssuggestsItakeallmyclothesoff.
Butthatisanotherstory...
Ideas and Mindhammers are both available to purchase (just check out www.hawkeyesmusic.com), and Hawk Eyes will be supporting Andrew W K on the UK leg of his tour in April. Party Hawk.
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Sam Airey, mild mannered guitar slinger with a hint of folksiness, has been stamping like a butterfly of late. From being the house band at the recent Live at Leeds launch to a Radio 1 Maida Vale set, he has been making his quiet presence known in quite a loud way. Ellie Treagust cornered this timid yet feisty little performer and pelted him with questions which you, dear reader, might like to know the answers to…
ETHowwouldyoulikeyourmusictobedescribed?
SAIneverreallyknowhowtoanswerthisquestiontobehonest.I’dratherpeoplejustmaketheirownmindsupwhentheylistentoit.I’dprobablycallitsomethingalongthelinesofindie-folkstorytelling;there’sarealfolkelementtoalotofthesongsbutit’snotalwaysadefiningfeature,Ithink.LyricallyItryandwritewithastrongnarrativemostofthetime,butit’snotalwaysthecase.Withthelatestthingswe’verecordedthere’sanemphasisonatmosphere,tryingtocreateamoodthatreflectsthecontentofthesongs,Iguess.
ETHowdoyougoaboutthesong-writingprocess?
SAThere’snodefinitivemethod.SometimesI’llhavepiecesoflyricsoramelodyinmyheadanditcantaketheshapeofasongwithinminutes,othertimesit’smoreforcedandyouhavetoworkatitalittlemore.IusuallywritewithaguitarbutI’vebeensatatthepianoalotrecently.However,I’vewrittenwholesongsbeforewithoutbeinganywherenearaninstrument;Iwrote‘EndlessSea’onalate-nightferrycrossingfromIreland.Itstartedwithjustacoupleofwords,butinmyheadIcouldheareverything-thechordprogression,melodyline,andsoonIhadawholesong,withoutactuallymakingasound.AssoonasIgothomeIplayeditinfull,itwasprettyoddhowitcameoutcompletelyformed.
ETHaveyounoticedmuchdevelopmentinyoursong-writingsinceyoubegan,andifso,how?
SAIliketothinkso.LyricsareabigthingformeandItendtospendabitmoretimeonthemthesedays.Musically,I’mlessafraidtoletthesongstakecourseandchange,soI’menjoyinglayeringthemandfindingnewsounds.You’dalwayshopeyou’reconstantlydeveloping-ifyournextsongisn’tasgoodorbetterthanyourlast,youprobablyneedtositbackandquestionwhatyou’redoing.
ETWhat’syourfavouritevenuetoplayatinLeeds?
Ihaveafew.TheBrudenellisanobviouschoicethesedaysforalltherightreasons.Thesoundisalwaysgreat,andNathandoesabrilliantjobofrunningit-it’snotjustacherishedvenuebutanintegralpartoftheLeedsscene.Intermsofothervenues,Ilikeplayinginslightlymoreunusualspacestoo.ThenewEPlaunchatHolyTrinityChurchwillbethethirdtimeI’veplayedthere.It’sabeautifulspaceanditlendsitselfreallywelltothetypeofmusicIplay.WedidasinglelaunchlastyearcuratedbyAnthologies,insidethechapterhouseinKirkstallAbbey,withnoPAoramplificationatall-thatfeltlikeariskydecisionbutitturnedouttobeoneofthebestgigs.Finally,OportoandShopkeepersgigsarealwaysfun.It’sbrillianttheyhaveadecentbudgetforlivemusicandyetputonsomanyfreeshows.
ETThere’sbeenquiteasurgeof‘onemanandhisguitar’actsinrecentyears-whatmakesyoustandout?
SAI’vealwayssaidthere’saninherentflaw,oratleastdanger,withthetermsinger-songwriter,ifthat’swhatyouwanttocallthis.Theproblemliesinthefactthatthetermattemptstodenoteagenre,whenallitreallysuggestsisthatitconcernssomeonewhobothsingsandwritessongs.However,thesedayswemostlycometoassociateitwithagreatdealofbland/drossmusic.Oneofthebigproblemsformeisthatit’squiteeasytopickupaguitarandgetyoursongsontheinternet-thismayseemlikeagoodthingbutitmeansyouhavetowadethroughquitealotbeforeyoufindsomethingofworth.I’veworkedprettyhardthelastcoupleof12
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yearsbothonsongwritingandlearninghowtoholdacrowdonmyown,whichatfirstseemedlikethemostdauntingthingintheworld.Butnowthattherecordingsareincreasinglylayeredandorchestrated,I’llbedoingmorewithafullbandtoo.
ETWhat’syourbiggestmusicalachievementtodate?
SATherehavebeenafew.MusicformehasalwaysjustbeensomethingI’veloved-Ineverreallyintendedtogettothispoint,butwitheverythinggoodthathappens,itseemstospuryouontothenext.Atfirstitwasacaseof“Ihavethesesongs,I’llwritesomemore”,thenitwas“I’llrecordandreleaseanEP”,andnowtwoyearsdownthelineI’vereleasedsingles,playedaroundtheUK,andI’mcurrentlywritinganalbum.Ithinkthemostoverwhelmingthinghasbeentheradioattention;theRadio1MaidaValesessionwasahugehighlightforme.
ETDoyoursongsalwaysturnouthowyouwantedthemtoordoesthecreativeprocesschangethem?
SASometimesyou’llhaveanidealisticsenseofwhatyouwantthesongtosoundlike,butyouhavetolettheprocessrunitscoursebecauseyoumightendupwithsomethingthatsoundsbetterthanwhateveryouanticipated.
ET Howmuchinspirationdoyoutakefromyoursurroundingarea?
SAAvaryingdegree.I’mfromruralNorthWalesoriginally,andbitsofthesongsarepartlyinspiredbymymemoriesofit,andalsobymymovetoLeedsandgettingusedtolifeinthecity.ButI’dsayItakejustasmuchinspirationfromthepeoplearoundmeandtheplacesIvisit.
ETAquickrun-downofwhat’sinstoremusicallyforyouthisyear?
SAFirstlythere’sthenewEP–‘AMarker&AMap’,releasedinMarchwithaccompanyingfullbandgiginHolyTrinityChurch,andwe’realsodoingaLondonEPlaunch.ThenI’llbedoingsometouringinAprilincludingmyfirstgigsinScotland,thenofcourseLiveatLeedsinMay,andhopefullywe’llbeplayingafewfestivalsduringthesummertoo.
ETIfyoucouldhostafantasydinnerpartyofsevenguests,whowouldtheybe?
SASamCookeandJoniMitchellwouldcome,andI’dalsomakethemsing.ErnestHemingwaywouldbeondrinksduty,AudreyHepburnforsomeeleganceandstories,SalvadorDaliseemedprettyinterestingtoosohecouldprobablycomealong.ThenI’dinviteCharlesDarwinandGod,andmakethemhaveanarm-wrestlingduel.
You can catch Sam Airey at Live at Leeds on Saturday 5th May. Be patient...
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Anticipation. Despite what the hacks will try and tell you i.e. that they know the line up for Leeds 2012 and have done for months blah blah blah, there is a very tangible sensation of anticipation in this room full of giggers, liggers, bloggers, sloggers, tweeters and the occasional writer. In ten minutes time there will be an electronic barrage comparable to the EMP kicked out by a small nuclear device departing from the cockpit, but for now... anticipation.
Bythetimeyoureadthis,thelineupwillbeoldnews.Therewillbetheusualaccusationsof‘playingitsafe’and‘soooopredictable’,butasforme...Istillgetexcitedbythis.I’mlovingtheprospectof(hopefully)seeingTheCure,re-acquaintingmyselfwiththeGallicdancemetalinsanityofJustice,goingbollocks-mentaltoPulledApartByHorsesONTHEMAINSTAGEand...well...AtTheDriveIn...
ItcouldonlygetbetterifSoundgardenmadeanappearance(crossesfingers).
Andwehaven’tevengottotheFRorIntroducingstagesyet...ortheLockDown/Dancelineup...orthecomedystage...
Yes,itiscommercial,yes,itisfullofpissedupteenagersbutitisstillLeedsfestival,amassivefestivalinourbackyardthatbearsourcity’snameandIhaveitongoodauthority(fromtwoguyswhocameallthewayfromReadingtogotoLeeds,so...)thatitisthepreferredlocality.Andforthatweekend,therewillbethatsamebuzzofanticipation,onlygrownseveralmagnitudeslarger–andIhaveafeelingthisisgoingtobeamightyweekend.
InafugoffreeGaymers,IamluckyenoughtogetamomentoftimewithFestivalRepublichonchoMelvynBenn,aformerHulliteandfanoffanzines.Heissippingawhitewine,leaningagainstasparestageandlookingslightlyrelaxedbutalsoslightlyanxiousaboutcatchinghistraindowntothebigsmoke.
SeeingasthisisaGlasonbury-freeyear,Iaskhimifhefeelslike‘akidinasweetshop’,literallyhavingthepickofthebunchwhenitcomestobandsthisyear.“Ialwaysfeellikeakidinasweetshop,”hefiresback,“anyoneinmypositionshouldfeellikeakidinasweetshop.Glastonbury’sauniquefestival,entirelyonitsown.ReadingandLeedsaremusicfestivals,theyhavemusicrunningthroughtheirveinsandessentiallyonlymusicrunningthroughtheirveins–there’snoclowns,nofireeaters,nosnakecharmers.”
Aswellasbeingafanzinefan,italsotranspiresthatheisaPulledApartByHorsesfan,havingbeenintroducedtothembytheirmanager.Hehadtobuyhisowncopyofthenewalbum,though.OpeningontheFriday,Iaskhimifheseesthemasawarmupband:“Onthecontraryactually–Ithinkthatworlddominationbeckons-they’vegotasoundthatwillblowpeopleapartinGermany,inAmerica,inJapan.”
NotonlyarePABHplayingthemainstage,butLeedsownKaiserChiefswillbeuptheretoo.Hashegoneforsomelocalactionspecifically?“Somepeoplehavesaidtome‘doyoupickthelocalbandsforLeeds?’butthefestivalrepublicintegritywouldn’tallowthat.Wepickthebandsbecausetheydeservetobethere.”
Aswellasthebignames,LeedsFestivalwillalsobehostingthewinnersoftheMartinHouseHospice’sCentreStagecompetitionforathirdyear,demonstratingFR’sdedicationtonewmusic:“Thefactthatitbenefitsthehospiceisaplus,butit’sarealopportunityforyoungmusicianstobeonstageandtolearnabouttheircontemporaries.”He’salsoachampionofyouthingeneral:“I’vealwayshadyoungpeopleatmyheart–Iabhorthewaythatyoungpeoplearegivenahardtimebythepress.TheyoungpeopleintheaudiencesatReadingandLeedsaretomorrow’sleadersofthecountry-I’vebeenatfestivalswherethefuturekingofEnglandhasbeenexcitedbybeingstoodatthesideofthestage.”
Butmorethanthat,hehasvowedtoputabeerandaburgerinthebellyofeveryindividualwhobuysaweekendticket:“Intruth,nothingpromptedmeapartfromphilanthropy-IdowhatIcantomakethesponsorshelpme–iftheydon’tdothat,I’llpayforit.I’mnotnaturallyapersonthatjusttakesandtakes,Ialwayswanttogivethingsbackandatfestivalrepublicwealwaysworkreallyhardoncharityprojects.IjustfeltIneededtodoit.”Andforthat,Isaluteyou.Willtherebehaggistherethisyearthough?CanIgethaggis...?
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Not ones to let the grass grow under our feet, we’ve had a bit of a recruitment drive here at WYPC, so please welcome Officer Rochelle Massey – she doesn’t take any, as Reel Big Fish found out when they got a proper grilling. Fish? Grilling? Oh, forget it...
Names?Dan,andIplaythetrombone.Derek,andIplayBassJohn,JohnnyChristmas,andIplayTrumpetMatt,Iplaysaxophoneandsing
Reason for Visit? Dan–Wellonceayearaplanecomesbyeachofourhouses,picksusup,andsaysyouhavetogodancelikeamonkey,overwithintheUK.Sincewedon’treallyhavealotgoingon,weusuallygetonthatplane.
Business or pleasure?Dan–Abitofboth.Betweenthehoursof9and10.30,it’sbusinessandtherestofthetime,it’sbusiness.Derek–Iaminthebusinessofpleasure.Dan-Businessisgood.Derek–Businessisabooming.
How has touring changed for you over the years? We hope you won’t be all... rock and roll.Dan–OnthistourwetendtobeourPJsby11pm.Johnny–Heisveryhappyaboutthat.Derek-StagetoPJsintenminutes.Dan–Althoughlastnighttherewasabitofpartying.Johnny–InGlasgow.When you come to the UK what do you enjoy the most?Derek–Kebabs!Johnny–Yeah,kebabshereareawesome.Weenjoymeetingallthepeople.TheBritishfansarealwayssoawesome.Wereallyappreciatethat.Matt–Youguysdoreallygooddelimeat.Ienjoythedelimeat.Idolovesomegooddelimeat.
When constantly touring do you ever get on each other’s nerves and want space to yourself? I think we have a free holding cell...Dan–Ithinkweareoldenoughtoknowwhensomeonewantsspace.Johnny–yeah,definitely,wehavelearnthowtostayoutofeachother’swaywhenwearefeelingthatwayout.Thenthenextdaytheywillbefine...Derek–Actually,youshouldhaveeachofusintheroomaloneandaskthequestionagain,andthenseewhatansweryouget.
Drummers are known for being troublemakers, bassists for being lazy – how does a trombone player behave?Dan–Thetromboneplayerisusuallystoned,althoughnotnow,Imuststressthat.Matt–TheyloveDoritos.TheycaneatanentirebagofDoritosinonesitting.Dan–Thatisnottrue.Matt–Andtheylie.Dan–IhavenothadabagofDoritosonthisentiretour.Iwasfinebeinginsultedbymyself,butifyouwanttojoinin,pleasedo.
Calm down, gentlemen. How have you kept the band relevant when ska is in and out of favour?Dan–Itcertainlyisnotbygettingasaxplayer.Matt–Oooohhhhh,likethatnowisit.Dan–Youbetitis.IthinkAaronhaswrittenthesoundtracksofmostpeople’slivesfromabout12totheageof25.Soheisdealingwithalltheproblemsthatyougothroughatthattime.Matt–Youarestillgoingthroughthem.
What is next for Reel Big Fish?Dan–Weareactuallyworkingonanewrecord.Johnny–Yeyyyfinally.Dan–NowIknowwehavehadsaidwehavebeenworkingonanewrecordforwhatseemslikeyears...Derek–Itisyears!Dan–...ButAaronlikesthesesongs,whichisveryrare.Sothistimeitshouldhappen.Itwillhappen...(sternface)
Anything else to declare?Johnny–Don’teatspacecakeandtrytocomebacktoBritain.(shouts:bloodtestforJohnny...)Dan–Iwouldliketodeclare,thatIdidweartheseshoesinanagriculturalsituation,andbroughtmadcowintothecountrywiththesoilonmyboots.Derek–Yeah!Ihavesomethingtodeclare...Iamnotlazy!
Thankyou,youmaynowproceedthroughpassportcontrol.EnjoyLeeds.
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Long before most Vibrations’ readers and writers were even born, the insanity of providing quality musical opinion, info, news and reviews for our fine city was under the auspices of a certain Martin Tindall. In 1977 he blazed a trail with his fanzine, ‘New Pose’, for such mags as ourselves, so we called on an old friend to big up his seminal publication, now reissued after 35 years. Vibrations own old schooler Sam Saunders was there, so he knows what he’s talking about!
Inthemiddleoftheblandestmusicaldecadeinhistory,ayoungMartinTindallwasgoingabouthiswide-eyedlifelisteningtoNewYorkDollsandTheStooges,beingexpelledfromArtCollegeandvisitingLondon.
InLondon,lookinglikeapunkcouldmeanhidinginMalcolmMcLaren’sshopforsafety,withteddyboyassailantslockedoutside,shoutingforblood.InLeedsitwasworse.HangingaroundTheQueen’sHallonthenightofaconcertcouldleadtoakicking.
Nomatter;the“AnarchyInTheUKTour”broughtTheSexPistols,TheDamned,JohnnyThundersandTheHeartbreakers,and(SpecialGuests)TheClashtoLeedsPolytechniconMonday,December6th1976.Unlikeothercitiesontheadvertisedtour,Leedsactuallyallowedthegigtoproceed.Martinandhispalswerethere,withheartspoundingandaplan.
Bythespringof1977,Martin,withtypingbyJayneCobbeandphotosbySteveDixon,hadphotocopiedthefirstissueofaremarkablefanzinecalledNewPose.Itwascopied,onesided,onto16sheetsofA4stapledtogetherandsoldthroughoutletslikeVirginRecords(whoquicklyputMartininchargeoftheirpunk-recordpurchasing).Withartschoolstillinhisblood,hegotcontributionsfromcartooniststoo:MarkManning(founderofthebandZodiacMindwarp),RayBurns(akaCaptainSensible)andJerzySzostekofKnockaboutComicswereactivecontributors.
AlotofthetextwashandwrittenbyMartin.ThephotographsbyJayneCobbeandMattDixon(ElvisCostello,SexPistols,Ramones,TheClash...)aredenselyzeitgeist(withcontactprintsinoneissuetosaveonprocessingcosts).‘Pin-up’cartoonsbyMarkManning(andMartin)arebrilliant.ThecomicstripreviewofanIggyPopgigandacomicstripbiographyofTheDamned(by
CaptainSensible)aresomethingelse.Vibrationsshouldadopttheformatimmediately(dulynoted–anytakers?Ed.).
Overfivespikyissuesthroughthewholeof1977writing,photographs,comicstrips,cartoons,gignewsandpersonalviewspouredout.AlongsidethefewYorkshireartistslikeS.O.S.,TheJerks,Cyanide,TheMirrorBoysandTheNeckFuckerstherewerereviewsandinterviewswithmostofthebest:TheRamones,TheStranglers,TheVibratorsandTheSexPistolsandloadsmore.
Thefanzinehashadagooddealofnationalattentionovertheyears.NME,championingpunkatthetimeandfastbecomingTHEmusicweeklyasMelodyMakerlostitsbearings,putitsecondonlytoSniffin’Glueasthenation’sbestfanzine.(Sniffin’GluehadstartedabitearlierandMartinthoughthecouldmakesomethingthatlookedbetter.Hewasright.)NewPosehassincebeenfeaturedinTVdocumentariesoftheera:notablyinBBC2’sArenaseriesin1990andChannel4’s‘TheStiffRecordsStory’in2010.
ButafterfiveissuesMartinhadrunoutofsteamandtheLeedspunkscenewasturningintosomethingalotlessexcitingandalotmorecommercial.NewPosestoppedwhileitwasstillhot.Eachissuehadgotstrongerthanthepreviousone,butthingswereshiftinginLeeds.Martintoldmethatthosedescendantsoftheskinheadsandfootballhooliganswerestartingtoarriveatpunkgigs,lookingfortroubleandgoingforthesmellofbandslikeSkrewdriverwhorepresentedeverythingthatpunkhadstoodagainst.Thecultofpunkitselfwasmorphingintogothandnewwave.Recordlabelswhohadbeenfastasleepin1976werestartingtothrowchequebooksatpeoplelikeElvisCostellowhocoulddeveloptheirmusicandmakeaseriesofbigmoneyalbums.ThefierceenergyofthepunksinglesthatMartinwassellinginVirgincouldn’tmaintaintheirimpactonwholealbumsandsomethinghadbeenlost.
HestillremembersdoingoneDJsetatJohnKeenan’sfirst‘StarsofToday’seriesatLeedsPolytechnicbutthepressuresofhisfull-timejobandputtingoutNewPosemadehimbackoutofafutureasaDJ.
The New Pose full-set reissue of five can be bought from Crash Records and Jumbo Records. If you have original copies, treasure them and buy these to read all over again.
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Just outside of Leeds (I know, bear with me) there is a little star cradle of a town that has spawned the likes of The Cribs, The Research, Runaround Kids and now The Spills. Emma Quinlan managed to get some sense out of them between fits of laughing and breaks for South Park. YOU WILL RESPECT HER AUTHORITAH!
Theylikechillisauceonbeansontoast,eatingfishandchipswhilstrecordingandwatchingSouthPark.TheyareTheSpills,anindierockquartetfromWakefieldwhoinfactlikewatchingSouthParksomuchthatwestoptheinterviewhalfwaythrough,sotheycanpayattentiontotheTVintheroomandwatchacartoonRobSchneidermakeatoolofhimself.“Sorryaboutthat,”saysSam,“it’sthebestbitofthewholeepisode.”
We’reinthe‘livingroom’areaatGreenmountstudiosinArmley.Aone-timeplaceofworship,thisconvertedchurchhasceasedtoopenitsdoorstothereligiousandinsteadactsasaplaceforbandstorecordtheirmusic.TheSpills,consistingofguitarist/singerRob,bassistSam,drummerJoe(whoissadlyunabletoattend)andguitarist/singerChad,haverecordedhereafewtimesanddon’tseemtobeputoffbytheweirdeerinessthatsurroundstheplace.
“WedidourEPhereandthenwedidouralbumhere,”explainsRob,“LeeandJamie,theguyswhoranitthen,didourEPandalbumandnowIrunthestudiowiththem.Wejustalwaysreallylikedthisstudioandwerecordtoanaloguetapeandit’sgotloadsofvintageequipment.”
Formedaroundsixyearsago,TheSpillsallmetinsecondaryschoolandbeganplayingtogetherwhenRobwasinschoolandtheotherswereinsixthform.“Westartedprettyyoung...Iwas15whenIstartedwritingsomesongsandthenmeandSamboughtafour-tracktaperecorder.It’sbeenthesameline-up[eversince]butwhenyouhavebeengoingfromthatyoungobviouslyit’sverydifferent.”
“Youdon’tmeanthatofTheSpillsdoyou?”interjectsSam.“No,”laughsRob,“It’ssodifferent.It’sjustthatmostbandssplitup…”“…They’relikeschoolbands,”continuesChad,“andthentheykindofbreakupandactuallydosomething.”
Withthis,theyallbeginlaughing,whichtheycontinuetodothroughouttheinterview,normallyattheexpenseofoneanother.“Basically,”saysRob,“wecarriedonwhenwewenttouniversity[eventhough]weallwenttouniversityindifferentplaces.Inthefirstyearwetookitabitslowerandthenwekindofbuiltitupagain.ThenwedidanEPandthenafteruniversitywedidthealbum.”
Thealbumheistalkingaboutis‘Occam’sRazor,’theirfantasticdebutthattakesallthebestbitsoftheindiegenreandwhacksthemtogetherinonegloriousCD.Theirworkhasgatheredarespectableamountofpraisefromthemusicmedia(includingthisveryfinepublication),whichcameasanicesurpriseforthemakers.
“Wegotalotmorereviewsthanwethoughtandtheywereallreallynicesoitwasapleasantsurprisereally,”smilesRob.
“Yeah,”chucklesSam,“Ithoughtwewouldgetlikethreereviewsorsomething...”
Thankfullythishasnotbeenthecaseandinstead‘Occam’sRazor’hasignitedaflameinTheSpillsandshowntherestofYorkshirehowindierockshouldbedone.However,eventhoughtheyregardthemselvesasan‘indieband,’theyaren’tfullycomfortablewiththetagline.
“It’squiteanindieband,”mullsSam,“butIdon’tliketheword‘indie’becausepeoplealwaysturntheirnoseupatit.”He’sgotapoint.Ifyousaytheword‘indie’topeople,mostofthemwillenvisageabunchofposhlads,toutingguitarsandflannelshirtsbutTheSpillsaredefinitelynotoneofthesebands.“[Oursound]isnoisyandIdon’tknowifit’sheavybutit’snoisyandabitrough.[It’s]kindofindieinthesenseofAmericanindie…[like]PixiesandPavement.”
SodidthesebandsinspireTheSpillstopickuptheirinstruments?“WhenIstartedplayingguitarIwaslike10,”remembersRob,“Soprobably[someone]likeJimiHendrixinspired[me]tostartplayingguitar.”Apparentlythisisn’tthefirsttimeJimiHendrixhasbeenmentionedduringaninterview…“DoyourememberthatinterviewwedidwhenyoukeptreferringtotheJimiHendrixtapeinyourdad’scar?”smirksChad.Hedoesn’t,butaccordingtoSamhementionedit“overandover.”
Chills, Thrills and... The Spills!
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Thebandbreaksintomoresmilesandmoregiggles,withRobnowthetargetformockery.“Yeah,mydadhadaJimiHendrixtapeinhiscar…”jokesRob,takingtheirmocksinhisstride.ApparentlyhealsohadafewothersincludingBobMarley,butwedon’tneedtogointothat.“Ididn’tstartplayinguntilIwas15,”saysChad,“SoitwasmainlythatIlikedalotofbandsbut[also]thateveryoneelseplayedinstrumentsandIjustalwayswantedto…soIjustdid.”
HemakesitsoundsoeasyandTheSpillsasawholemakebeinginabandlookeasierthanitprobablyis.Fortheseladsthough,thisisn’texactlyaneasylife-theyallhaveregularjobsaswellasplayinginTheSpills.There’snoBono-styleprivatejetsandfullstadiumtoursforthem,justsmallchapelswithnobarsandabring-your-own-beerpolicy.“WedidanalbumlaunchatChantryChapel,whichisachapelinWakefield.Thecapacityisprobably50
people.It’sareallylittleplace,”explainsRob.
“There’snobarsoitwasbringyourownbeerandnotoiletssopeople[were]justhavingapissintheopen,”addsSam,“Ithink[thatwasthe]bestgigofours.”
Notexactlythevenuedreamsweremadeof,butit’snotallpissingonwallsandcansofRedStripeforTheSpills–no,notalloftheirliveappearanceshavebeenthatclassy.Lastyearhowevertheywerebookedfortheone-dayextravaganzathatisLiveatLeedsandthisyeartheyaredoingLongDivision(whichtheyalsodidin2011),Wakefield’sanswertoLiveatLeedsandaccordingtoSam,“thefestivalthatisputtingWakefieldonthemap.”
Thisbringsalittlegrintoallourfaces,butapparentlytheclaimisdeserved.“Itactuallyis,”saysChad,“itwasamazinglastyear.”
“Theysolditoutlastyear,”addsRob,“TheyhadDarwinDeezcomeover,andTheWeddingPresent.”IsgettingDarwinDeeztoplayreallyathingtobragabout?“It’sprettycoolthathecamefromNewYorktoplayinWakefield,”answersRobandwhenputlikethat,IsupposeIhavetoagree…Sothat’sTheSpills,pastandfuture(theredoingasplitEPwithRunaroundKidsscheduledforlateronintheyear)butwhataboutthepresentandmorespecificallywhatareyourecordinginthiscreepyoldchurchanyway?“[We’rerecording]atrackforacompilation,”explainsSam.
“Yeah,”addsRob,“DoyouknowwhoRhubarbBombare?”Queuetheblankexpression.“It’saWakefieldzinethingandtheirdoingacompilationwithloadsofWakefieldbands.It’scomingoutwithabigbookontheWakefieldmusicscene.There’sus,RunaroundKids,TheCribs,Imp,
TheResearch:itsWakefieldbandspastandpresent,sowe’rerecordingforthat.”
SoundsgoodtousbutwhilstIwishIcouldtalktoTheSpillsallnight,weallhavehomestogotoandworktogetupfor.Beforewesaygoodbyethough,anylastwords?NotthatImeanthattosoundsoterminal.“I’llmakeapledgeforthisRhubarbBombcompilation.[There’s]loadsofmemorabiliafromgigsinWakefieldlikebigprintsof…ArticMonkeysplayingWakefieldforinstanceIthinkthat’soneandthere’soneofKateNashplayingWakefield.Basicallyyoumakeapledge,acertainamountofmoneyforwhateveritemandobviouslyyougetthatitem,”explainsRob.
“That’sthenfundingthecompilationandthisbigbookontheWakefieldmusicscene[showing]thehistoryofitandthehistoryofthemagazine.Youcanmakeapledgeforthatonline,soitwouldbegoodifeveryonechecksthatout,it’sagoodthing.”Whenisthisout?“[Thecompilation]come’soutApril21stIthinkandit’scalled‘TheCityConsumesUs.’”“Isitnotcalled‘TheBomb-palation?”UnfortunatelynotSam,butbyGodwewishitwas.
‘The City Consumes Us’ will indeed be available at the end of April, complete with funky book. It is unclear as to whether Rob’s dad still has a Jimi Hendrix tape in his car...22
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It actually came as a shock to realise that iForward Russia! Have actually been on permanent Hiatus since 2008, but time flies and all that. Whiskas, not a man to let the grass grow under his feet but having to deal with the responsibilities of a young family, took time out of his busy schedule to speak to Greg Elliott about new honours, new glories...
Musician,labelowner,manager,producer,promoter-themanknownasWhiskashashadmanyguisesthroughouthislongassociationwiththeLeedsscene.He’ssatwithmeinaHeadingleywateringholetalkingaboutHonourBeforeGlory,thesoloaliasunderwhichheself-releasedtheThis Is Broken LinesLPin2011anditsfollow-upEPThe Maisonearlierthisyear.Theoriginsoftheprojectcanbetracedtothedyingdaysof¡Forward,Russia!,withwhomWhiskasplayedguitarandrodethemid-Noughties‘NewYorkshire’wavetosomethingapproachingmainstreamsuccess.Breakingintothecharts,however,cameataprice.
‘‘Wegotswallowedupbythemachine,’’hetellsme,‘‘wewerereactingtowhatotherpeopleweredoingandweweren’ttakingintoaccountwhatweneededtobedoingasindividuals.LookingbackitwasmentalthatwewerehangingaroundwithbandslikeEditorsandDirtyPrettyThings,thinkingthatwehadthesamekindofappeal!Wewastedalotoftime,energyandmoneyonpromotion-itdefinitelygotusbigger,butwhetheritwastherightthinginthelongtermIdon’tknow’.”Hepauses.‘‘It’sabitlikeChelseareally.’’
In2007¡Forward,Russia!decampedtoSeattletorecordtheirsecondalbum,Life Processes.Thesessionsweremarkedbyachangingdynamicwithintheband.‘‘Iwascomingupwiththingsreallyquickly,’’Whiskasrecalls,‘‘before,Iwouldjustwriteaguitarpartandwe’dbuildasongaroundthat,butnowIwasturningupwithfully-formedideas.Iwouldgoinandsay‘youdothis’and‘youdothat’.Icouldhearinmyheadhowthewholethingworked.‘SomeBuildings’wasthefirstsongwe’drecordedinsuchanun-collaborativeway.Itwasawkward-itwasn’thowthebandworkedanditjarredwithallofusIthink.WhentherewasdowntimeIwoulddisappearandmessaroundwithideas,buttheydidn’treallyfitwithwhatweweredoing.’’
WhiskashadunknowinglyplantedaseedwhichwouldcometofruitionwithThisIsBrokenLines–indeed,standouttrack‘BrokenBottles,EmptyHearts’waswritteninSeattleandcouldhavebeena¡Forward,Russia!song.UponhisreturntoLeedshetriedtorecordsomedemoswithfriendsJamieLockhart(MiMye)andJonFoulger(Duels),buttheprojectquicklystalled.‘‘Ididn’treallyknowwhattodowithit,whyIwasdoingitorwhatitwasfor,’’headmits,‘‘Ididn’twantittobeanotherband,butmaybeamorecoherentcollectiveofpeoplethanitendedupbeing.Inmanywaysitwasareactiontotheexperienceoffourpeopleinaroomtryingtowritesongstogether.Whenyou’reinabandyoudon’tthinkofeverydetail-there’salwayssomebodyaddingtheirtwocentsandusuallyinareallygoodway.Itwasalmostlikeanexperiment,pullingalloftheideastogethermyselfandseeingwhathappened.That’sprobablywhyittookfouryears!’’Helaughs.
Itwasthedemiseof¡Forward,Russia!attheendof2008thatstartedbringingthingsintofocus.Aninterestinproduction,sparkedbythemoreholisticapproachtosong-writinghehadtakenwithLife Processes,ledWhiskastoenrolonapostgraduatecourseatLMU.Freshlyup-skilled,heenteredtheHouseofMookrecordingstudiosinMeanwoodtobeginworkonhisdebutsoloalbum.Itwasaseriousundertaking-aswellasproducingWhiskasplayedeveryinstrumenthimself,withtheexceptionoflivedrumsperformedbySimonFogalofILIKETRAINS.BackingvocalscamecourtesyofacastofLeedsmusiciansknowntoWhiskasfromhisfamousassociationwithlocalindependentlabelDanceToTheRadio,includingFranRodgers,SamAireyandILIKETRAINSfrontmanDaveMartin.‘‘Iwouldsaytothem‘Iwantthistohappen–Itrustyoutomakeitgood’,’’heexplains.‘‘I’dknowIwantedacertainvocalrangefilling,oratransitiononthedrumstogetusfromaverseintothechorus,butpeoplehadthelicensetobecreativeandcomeupwiththeirownwaysofachievingwhatI’daskedfor.”
Not Back in The USSR
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Hon
our B
efor
e G
lory
25Wordsby
Gre
gg E
lliot
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ThiswasunchartedterritoryforWhiskas.Foronething,hewasplacingamuchgreateremphasisonthesoundofthesongs.‘‘Ialreadyknewaboutarrangements,’’hetellsme,‘‘like,inthesecondversetheguitar’sgoingtodropoutorthevocalsaregoingtochangemelodyorwhatever–butnowitwasmorelike,okay,thedrumsaregoingtopassthroughafilter,thekickdrum’sgoingtobottomout,allthesesynthandpercussionthingsaregoingtobehappening.IwaslearningasIwent.Ienjoyedtheprocess,butifIcouldn’tgetthesoundthewayIwantedtherewasnooneIcouldturnto.”Thereweresomeadvantagestoworkinginisolation,however.‘‘Myexperiencewithbandsisthatyouhaveathing,thenyoudoanotherthing,thenyoudoanotherthing,’’heexplains,‘‘youcan’tgetintothedetailtoomuch.WithHonourBeforeGlorythesongsaremainlyverse-chorus-verse-chorus-end,butthey’reinterestingbecauseofhowthey’reproduced.Ican’timaginebeinginaroomwithpeoplediscussingwhyallthesedifferentthingsneedtohappenattheseveryspecifictimes’’.
This Is Broken LinesalsorepresentsWhiskas’firstexperienceofwritinglyrics.Giventhathebecameahusbandandafatherwhilethealbumwas–ifyou’llexcusethepun–gestating,didtheseupheavalsinhispersonallifeinformitslyricalcontent?‘‘Thealbumismusicallyratherthanlyricallydriven,’’heinsists,‘‘thelyricsarequiteinsular–theymeanalottomebutprobablynotmuchtoanybodyelse!Thefeelofthealbumisverymono-chrome;theideasareallveryblackandwhite.Fran[Rodgers,alsoatalentedillustratorifyoueverwantedtotype‘LazyDane’intoGoogle]cameupwithsomegreatartworktorepresentthat.”
So,hehadafinishedalbumhewaspleasedwith–timetopromoteitwithafuckloadofliveshows,right?NotbythelooksoftheHonourBeforeGlorywebsite,whichproclaimsnogigsfortheforeseeablefuture.‘‘It’sneverbeenalivething-henceitsproblemwithbeingalivething!’’explainsWhiskas.‘‘Withmypreviousbandsthesongswerewrittenwithgigsinmindanditwascooltobeabletogetawayfromthat.Theun-livepartshavedefinedthedirectionsthesongshavegonein,ratherthanviceversa.I’vebeenabletoputtwodrumkitsortenguitarsonasongbecauseIhaven’tbeenworryingabouthowI’mgoingtodoitlive.We’vedonesomeshows,butI’vefoundthemreallyunsatisfactory.I’mnotastrongsingerandIdon’tfeelconfidentorcomfortablefrontingaband.It’sashame,butthereareotherthingsIenjoymore.I’msobusy–Ihavetoprioritise.”
Thesecompetingpriorities–asidefromtheobviousresponsibilitiesofhomelife-includeplayingguitarforSamAireyandMonteCarlo,producingtheirnewEPs
aswellasupcomingreleasesbySoulCircusandKleineSchweine,andorganisingthe2012UnconferenceaspartofLiveAtLeedsnextmonth.That’snottomentionthedayjob,whichseesWhiskaspassingonhiswisdomasalectureratLMU.Heremainspassionateaboutempoweringmusicianstotakecontroloftheirartandkeeptheirintegrity,promptingmetoaskifthenamehe’schosenforhislatestprojectisareferencetothiscontinuingpreoccupation.Henods.‘‘It’swhat¡Forward,Russia!wasabouttoo-doingthingsintherightwayandfortherightreasons.It’snotaboutglory-Ijustwantstuff
togettherecognitionitdeserves.”
Itmighthavebeentakenofftheroadforthetimebeing,butWhiskasiskeentostressthatHonourBeforeGloryisstillagoingconcern.Thereareplanstogobackintothestudiowithsomenewsongsthisyear,andtheremaywellbeaquitedifferentlivemanifestationofhismusebeforetoolong.Itcanbewhateverhewantsittobe,afterall.‘‘TheearlysongswerequiteAmericana-influenced,abitmorerockandroll,’’hetellsme,‘‘thingsgotmoreelectroasIwenton.Ireallylikethesoundofthelatersongs–they’realotmoresynthetic.NoneofthesongsIrecordedattheendhadlivedrumsandIdidn’tmissthem.SoIhavethisideathatinthefutureIcoulddosongslike‘ShadowInto’[aseven-minuteepicofpensiveambienceandperhapsthemost
experimentaltrackonthealbum]onmyown’’.Hesmileswryly.‘‘Iwouldn’texpectittobeexcitingtowatchthough!”
We’llsee.
This Is Broken LinesandThe MaisonarebothavailableviaBandcampand,thoughyoumaynotseeHonourBeforeGloryinahurry,ifyouseeWhiskas,buyhimabeer...
He remains
passionate
about
empowering
musicians to
take control
of their art
and keep
their integrity
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Stalking Horse – Specters (Role Model Corporate)
Forthoseofyouwhoweredisappointedwithlastyear’sRadioheadcurveball‘KingofLimbs’,thiscouldbethealbumyouwerewaitingforallalong.TosaythatStalkingHorsehasonlyapassingYorke-ianvocaltwingewouldbeamassiveunderstatement.Andbythetime‘TheCreeps’(oh,comeon…)kicksinyou’restartingtowonderifStalkingHorseisjustapseudonymforanRHsideproject.
Inactualfact,SpectersisthedebutLPfromEx-ThisEtAlfrontman,Wu,underanewmoniker.ComparisonstoRadioheadshouldbereceivedinthemostcomplimentarysensetooasthisalbumisgenuinelybrilliant:warm,pulsinganddareIsayit,catchy,thisticksallmyhypotheticalchecklistentries.OthercomparisonstothelikesofWildBeastsandClinicholdtheirwaterwellintrackslike‘TheDawnIsFatherToTheSun’and‘Waterhole’andthere’sadefiniteVesselsvibeabout’99Stairs’.Plentyofvarietytoo:‘Mistress’isapiano-ledepiccompletewithquirkyobscurelyricalhooks(“There’snofoodonthetable/andyou’relaughingathisbedsidemanner”)whilecloser‘Lament’roundsthingsoffinasuitablythoughtfulmanner.
IstruggletofindfaultwithSpecters:asanalbumit’swell-balanced(havingbeengiventhefullJamesKenoshatreatment)andfullofbeautifullyconstructedtunes.There’sonlyaverythinresemblancetoThisEtAl,itfeelslikeNeil‘Wu’Widdupiswellonhiswaytowardsdevelopingatrulyidiosyncraticsound.Inthemeantime,he’sproducedastunningfirstrecordandwithalivebandofveritableLeedsall-starsisaprojectworthfollowing,evenifitdoeshaveyoureachingforyourcopyofIn Rainbows.Tim Hearson
Blacklisters – BLKLSTRS (Brew Records)
Admittedly,neverhavingheardBlacklistersbefore,Iwasalittledauntedbytheprospectofcomposingareviewaboutabandthataregenerallyheldinademi-godlikestatusbyotherVibrationswriters.IwasevenmoreperturbedwhenIheardthey’dbeencomparedtoGlassjaw.Ihadthedistinctfeelingthattheyweregoingtobeoneinanumberofbandshauntedbytheirritatinglegacyoftheaforementionedbandandtheir90spost-hardcorecontemporaries,andIhadthedistinctimpressionIwasgoingtohateit.Iexpectedsomethingbetweenovert,incessantmachismoandthewhinyverbalatrocitiesofteenagemelodrama.
WhatareliefthenwhenIinsertedtheCDintomyhi-fiandwasconfrontedbysomeofthemostvisceral,unrelentingandsuperbearcandyI’veeverencounteredduringmyshortacquaintancewiththelocalmusicscene.Blacklistersmanagetoexecutewithintrepidprecisionthebuildandreleasedynamicsrequiredformusicofthisaggressivequality.Buttheymanagetodoitwithoutresortingtoderivativebreakdownsorbravado.Instead,theycombineaudiosavagerywithatongueincheekethos.
Ialwaysfeelalackofcriticalprowessinusingtheidiom‘goodriffs’tojustifyapieceofmusic,butinthiscase,it’sobjective.Blacklistershaveanearforwhatmakesa‘goodriff’.Check
Albums
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outalbumopener‘ClubfootbyKasabian’toseewhatImean.Whateveritis,sublimeorotherwise,Blacklistersaremastersoftheirowngameandthey’vebarelybeenoutofmyhi-fieversince.Benjamin Rutledge
Hawk Eyes – Ideas (Brew Records)
Therearesomebandsthatyoulovebecauseyoucanrelyonthemtoproduceaconsistentqualityofworkeverytime–likeAC/DC,forinstance.WhoamIkidding?Youlovethembecausethey’vebeenproducingthesamealbumforthelastthirtyyears.In2010,HawkEyesdidthatliterallybutgrudginglywithModern Bodies.In2012Icanreassureyouthattheyarenotdoingthisagain. Ideasisacompletelydifferentfish–infact,I’dbetemptedtosayitwasacompletelydifferentspecies.
Itisstillafast,riffheavypieceofwork,buttheemphasishaschangedfromcrammingeachsongwithasmuchpunishingfretworkaspossibletocreatingmammothmelodieswithKyuss-deepbass,Mastodon-likecomplexityandKorn-ishbeats;therearechorusestosingalongtoaswell.
ItishowevertherevelationthatPaulAstickcansinglikeJoeyBelladonnaorMikePattonthatreallybringshomehowdifferentthisalbumistoanythingthathasgonebefore–yes,hecan
bark‘shotupup!’furiouslyon‘SkySpinners’,buthe’llfollowitupwiththeplaintive‘tospinbackdown’,andbythetimeyoureach‘BearsByTheHead’svocalgymnasticstheevidenceisoverwhelming–HawkEyeshavegonewaybeyondtherealmoftheincoherentscreamandvoiceasinstrument.
HawkEyesmaynotbeasangryasbefore,butthisconsideredapproachisjustas,ifnotmore,striking–targetsincludeherdmentalityin‘Bees’,desperateavaricein‘YouDeserveaMedal’,directionlessexistencein‘SkySpinners’.Butdespitethefrustrationfeltbytheband,thepowerofthemusic,rhythmandriffkeeppushingitthrough.Evolutionisamessybusiness,butbygollythisisonebeautifulmess.Rob Wright
Holy State - Electric Picture Palace (Brew Records)
ThisLeeds(viaNorwich)four-pieceridethecurrentwaveoffirstgenerationindie-rocknostalgiaonanLPaboundingwithtastefulreferencestoFugaziattheirmorelanguid(‘AgeofADHD’)andSonicYouthattheirmostreined-in(‘Ride’).HolyStatestudiouslyreplicatethestylisticquirksoftheirillustriousforebearstoconstructsongsrepletewithnimbleguitarlines,insistentmelodiesanddynamictwists;theleadsingerevengivesThurstonMoore’sdistinctivedrawlanEastAnglianspin.
Suchrelentlessreverencecouldwearthinoverthecourseoftwelvesongs,buttheconcisionoftheband’sapproach-whichrarelyallowsatracktopassthethreeminutemark-sendsElectricPicturePalacerushingbyinakinetichazewhichisundeniablyfun.We’renotjusttalkingsuperficialthrillseither–there’ssomerealcraftondisplayhere,fromtheinfectiousstompof‘LadyMagika’tohook-filledbarroomdelight‘MedicineHat’andtheverging-on-the-anthemic‘SolidStateMessiah’.Inshort,it’sanalbumfullofreasonstocatchthebandontheirvaledictoryMaytourandtolamenttheirearlypassing.Admittedlyyourreviewerfitssquarelyintothepost-grungedemographicatwhichthey’resquarelyaimed,butatleastHolyState
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don’tsullythelineagetowhichtheylayclaim.Indeed,iftheireffortsturnyoungerlistenersontothegenretrailblazerstheirsoundsoskilfullyechoes,I’mallforit.Greg Elliott
Pulled Apart By Horses – Tough Love (Transgressive Records)
LastyearsawPulledApartByHorseseponymousdebutunleashedonanunwarypublic,andboywasitafullontantrumofstupiddiatribes,shrieking,guitarsandmorenutpicksthanyoucouldshakeaplectrumat.NowIwouldn’tsaythat‘ToughLove’isamorerestrainedoffering;it’sstillcompletelyderanged.Iwouldhoweversayitisamoreconsideredofferingand...Idon’twanttosayit...moremat...matu...look,thismaytakeawhile...
Startingwhereweleftofffromthelastalbum,‘V.E.N.O.M’isasunrelentingafacemelterasyoucouldget,joiningthedotsbetweenMotorheadandGoldEarringviaAnthrax,withavocalintensitytomatchanythingfromthelastalbum.Thereishowevermorebeneaththefury;afrustration,venominfact.Theangeronthelastalbumwasjokey,goodhumoured;thisispotentiallydangerous.There’salotoffearonthisalbumtoo.Thefearofageingandnotchangingon‘WolfHand’–‘WhenIwasakidIwasadick/Butnothingchanges’;thefearofpeopleon‘NightofThe30
Living’;andthefearofnotbeingcool/beingtoocoolon‘DegenerationGame’and‘ShakeOfftheCurse’.WhatTomHudsonhasmanagedtodohereisamasterstrokeoflyricallaconicunderstatement.Snappyandtothepoint.
Butdespitethisthealbumisawholelotoffun,withitsBMoviereferencesbothinthesongsandthemusicandpillagingofthegenresfromthrashtoglamandIkidyounotyouwillplaythisoverandoveragainjusttosingorthrashorempathisealongto.Butthisisnotjustabitoffun;thisisalonghaulalbumforalonghaulband.
Mature.There,Isaidit.Rob Wright
Various Artists – The City Consumes Us (Rhubarb Bomb)
WakefieldmusicmagazineRhubarbBombisfiveyearsoldthisyearanddecidedtocelebratethefactbynotonlyputtingtogetheraCDofexclusiveandraretracksdonatedbythegreatandthegoodoftheCity’smusicscene,butalsobywritingabookaboutthewholething.Hubris,youmaythink,butasthismindbogglinglygoodCDdemonstratesforasmallcityofonly75,000inhabitants,WakefieldhasanembarrassmentofmusicalexcellencethatpercapitaprobablybettersthatofLeeds.Noreally.
There’sonlyacoupleofweaktracksonthis18songcompilationandalthoughyou’dhardlyexpectahand-pickedselectiontoincludemanyduffers,thevarietyonofferisamazingandifnothingelsethisCDshouldlaytoresttheideathatallWakefieldbands’soundthesame.Thebestthingaboutitthoughisthatallthereallystrongtrackswererecordedthisyear,somespecificallyforthecompilation,andsuggestthatsuperbmusicissettoflowfromthecityfortheforeseeablefuture.
There’snotenoughspacetomentionalltheoutstandingtrackshere,butyoushouldgettheCDatleastfor:Middleman’s‘HateYourself’,abrilliantbutuncharacteristicallydarkandbroodingruminationonbetrayalandback
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openswiththeWire-esque‘HarmsSweetWay’,itspropulsivesoft-topdownsheetmetalriffsuggestingthatTTAFmayhavehot-wiredaMustanginordertoescapethepostindustriallandscapewekeeptryingtoimprisonthemin.Iftheydidwhereweretheyheading?Theobviousclueisinthecloser,‘SomeoneElse’sRainbow’–TTAFunplugged,powereddownandchillinginLaurelCanyon?Tooradicalajourneytocontemplate?Perhapsyoushouldjointhemandthendecide.Martin HaleyAvailable free from http://thetruthaboutfrank.bandcamp.com/releases
Arizona Bay – Refuse (Self Release)
Toooftendobandsthesedayshavemediocreleadvocals.Relyingmoreontheirdolled-upguitarriffsandtheirrepetitivedrumpulsationsthanonthemanatthefront.Thankfully,ArizonaBaysubvertthisshitriddenconventionthatsomanybandsseemtofallinto.Youwantproof?ThencheckouttheirnewalbumRefuse.
Ifyouwereoneofthosewhogrewupinthemidstofthegrunge-dominatedmediaphaseinthe90’s,thenyouwillrecognisethisalbumashavingsomepotential.Maybegrungeisthewrongtermhere,asthatinsinuatesareturntothe90’s,whichisn’tthecase.Post-grungeismoresuiting,asthealbumismoreofacocktail-timemachineofmodernrockwithtraditionalgrittygrungeriffsthatgivebirthtoamusicalhybrid,whichsoundsprettydamngood.
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stabbing;Protectors‘Cauliflower’apunchy,chunkysongthatboastsachorusworthyoftheBeatlesattheirverybest;Lapels‘HowIKilledTheMagnethead’,afantasticexampleoftheideathatallittakesisabattered,bangedoutacousticguitarriff,imaginative,freewheelinglyricsandbucketsofattitudetomakeagreatsong;OneDay,AfterSchool….’ssparseandskeletal‘NovaScotia’,whichdeliberatelypayshomagetothegreatArabStrap;andthefrazzledpunkofRunaroundKids‘Undress’.
Thebookwillprobablybeagoodreadtoo.
Steve WalshRhubarb Bomb are funding the CD and book through a Pledge Music campaign – go here http://www.pledgemusic.com/artists/rhubarbbomb
The Truth About Frank – Dandelion Radio Sessions (Self release)
ReadersmayalreadybefamiliarwithLeedselectronicduoTheTruthAboutFrank(TTAF)andtheirfulldebut‘CannibalWorkEthic’(CWE),votedoneofVibrationsfavouritealbumsof2012.The6trackson‘DandelionRadioSessions’arecompiledfromtwoseparatesessionsthatpredateCWEandtothisextentseemlessdeveloped.
However,whatthelightertouchevidentintheserecordingsdoesisofferlistenerstheopportunitytolookbeneaththesurfaceandgetabetterfeelforthecoreforcesatplaywithinTTAF.
OrperhapsIamtakingitalltooseriously;maybeIshouldjustputitonanddance,becauseessentiallythat’swhatitmakesmewanttodo.Notinajoyfullyexpressivewaybutmoreastheconscriptedmemberofasynchronisedblastfurnaceworkerdancetroupe,droppingEsanduberstruttinginanabandonedEastGermanfoundry.Thesearingindustrialjazzopener‘OxygenOrgy’establishesthetoneinthisrespectactingasaviscousprecursortothemoreminimaltranceof’SectionB’andorchestralmachinefrenzyof‘HeadlessRentman’.Sessiontwo
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Vibrantindicatorsofthebandspotentialcanbefound;‘Footsteps’,‘OpenFire’and‘LettingGo’wheretherefinedgrungesynchronicityshinesthrough.Themoststrikingelement
isundoubtedlyRhysWilliams’voice,whichhastobesaid,isexactlyhowagrungevoiceshouldsound.Hittingthehighandlownotestoproduceanalternativemelodicdimensiontotheband’stracks,Williams’voicemakesthealbumwithaparadoxofruggedperfection.However,theSeattlescenetendstoinfluencehissingingaccentattimes.
That’saminorissuethough,andfocusshouldbeplacedontheband’scollectiveabilitytoproduceaneasylisteningalbumthathasgreatpotentialtobecomesuccessful.Definitelyonetolookoutfor.Jonathan Lees
Wilful Missing – Molehills out of Mountains (Little Attic)
WithanamelikeWilful Missing,Iexpectedthistobesomesortofmodernagefolk.Iwasnotfarfromwrong.Theopeningof‘CryfortheCity’isabeautifulopener(Iamasuckerforalittlebitofmodernclassicalchoir).
HalfwaythroughIcan’thelpbutthinktheyarejumpingonthisfadoffolkmusic.Don’tgetmewrong,itisagoodsong,anamazingsongthatiswonderfullyproducedandcreatedwithsuchenthusiasm,butitdoesnotexciteme.IfeellikeIhavehearditbefore.
‘TheWaltz’hasexcitingpartsthatmakesyouwanttoraiseatoastandsingalongduringthechorus,butthenassoonasyougetintoit,it’ssnatchedaway.
‘IAmClay’isarefreshingsongtohearonthisalbum.Itisupbeatandmakesyouwanttomove.Thisismyhighlightofthealbum.IftherewereafewmoretrackslikethisIthinkthatwouldratethealbumalittlehigher.
Overallitisagoodalbum,itjustlacksincertainaspects.Ifyou’reintoslowandpeaceful,thenyouaregoingtoloveit.Butformeitdoesgetsameyafterawhile.Rochelle MasseyAvailable to buy from http://www.marchofdimesmusic.com/sleeping-giant/
Cable 35 – Louder (Self release)
Anotherday,anotheralternativebandfromYorkshire.Thankfully,however,likemanyofthebandsfromaroundthisregion,Cable35arenotabigpileofconformisttripe.Insteadtheyareloud,brash,excitinganduniquelybrilliant.WithasoundthatmeetssomewhereinthemiddleofPulledApartByHorses,HawkEyesandNirvana,Cable35’sdebutalbum‘Louder’doesexactlywhatitsaysonthetin.
Startingwithoneofthegrungiestandbesttracksonthealbum,‘CowHead,’thealbumcontainsamammoth16songs,whichinthisageofshortattentionspansandquickfixescouldhaveprovedacostlymove.However,wheneverysongisasgoodasthis,whywouldyouleavesomeout?Fromthedistortedguitarsandsnarlingvocalson‘CanI’totheslowanddarkPixies-liketonesof‘LostCity,’thealbumpacksameanpunch,bothaboveandbelowthebelt.
Favouritesonthisdebutinclude‘HouseOfFire,’whosechorussoundslikeabrutalhomagetoMadness’s‘HouseOfFun’;‘FactInSpain’whichplayshosttoadeliciousguitarsolo;‘ComeDownToParty,’amelodicyetgrittyaffairand‘Memories,’atempo-switchingbeastthatyoucan’thelpbutbangyournogginto.
Theydon’thavethemostrockandrollnameinmusic,nordotheyhavetheluxuryofbiglabelmoney.WhatCable35dohaveismorepreciousthanthat:talent,mostofwhichseemstohavegoneintothisblisteringly,fantasticdebut.Emma QuinlanAvailable to buy from http://www.cable35.co/For more reviews, go to www.vibrations.org.uk – it’s been a big month!
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Bilge Pump/Two Minute Noodles/Cowtown @ Brudenell Social Club, Leeds
FirstupisCowtown,whosebouncyquirk-rockhasyousmilingandnoddinginthemostpositivesensesofthewords.TheDevot-shirtadornedbysynth-maestressHillaryKnottgivesacoupleofideasastowhereoneshouldlookforinfluences,butforthoseunacquaintedthey’relikeagrungierWhiteStripeswithalesstokenisticdrummerandfarmorefreneticsound.Alittlebitone-dimensionalperhaps–it’sallatad‘smashandgrab’-butstill,bytheendoftheirsharpsetI’msohappyIcouldpissmyself.
Two Minute Noodlesstepupnowtohavetheirsayandit’sanotherline-upthatpleasesmefromtheoff.Aduoofdrumsandelectricorgan,thisiswhatIimagineanice-creamvanfightingitswaythroughthezombieapocalypsewouldsoundlike.Whatamazesmeishowwellitallhangstogether–thedrummingisespeciallybrilliant(andapleasuretowatch)withitsfranticbeatsanditsgeneralpissingaboutwithtempo.All-outstomper‘BlackRod’hastobetheclincherthough;thesearesomebadasstunes.
Asifthatwasn’tenough,scenepatriarchsBilge Pumplineupforadoseofheavyriffingthathastheheadsgoingonceagain.FansofThatFuckingTankwillrecognisethestyleofrock-riffmashupswhiletheproggylyricsassertBilgePump’sstatusaskingsamongnerds.SomethingaboutthemremindsmeofRush.Notsurewhy,butIimaginethatcomparisonmightgetmeintotroublesomewhere.Amore‘traditional’rocksoundtoendthenight,butnolessballsyandexcellent.Tim Hearson
Hawk Eyes/These Monsters/Hookworms/Shallows @ The Brudenell Social Club, Leeds
Tokickstartthismetalpackedmontageofmayhem,aworthyprecursorfortheheadlinersShallowswerethefirstbandtotaketothestage.Shallows’talentedfemalesingerdominatedthezonewithanunforgivingdisplayofstrenuousvocalability,whichthecrowdseemedtoenjoy.
Hookwormswereupnextandtheirpsychedelic,coolstyleofrockwasapleasantchangeofpaceinthevenue.Thebandwasvisiblyhyped–theirelongatedguitarriffsandthoughtfulcombinationsofveryimpressivekeyboardanddrumvibesreinforcedtheunconsciousjourneythateveryonewasbeingtakenon.
AfterHookworms,These Monstersgearedup.Ididn’tknowwhattoexpectfromthistrio,butevenaftertheirfirstcoupleofsongsIwasblownawaybyhowawesometheywere.Fast,sharpandtastymetal/rockriffsthatsmashedeveryonesquareintheirfaces!Sufficetosay,everyone
lovedit.Thefront-manemittedascreamingvoicethatperfectlymatchedthespeedofthecomposition,finishinginabarrageofclapsandcheers…Definitelyonetolookoutfor!
Finally…Hawk Eyes.Althoughthecrowdhaddiminishedslightly,thevenuewasstillrammedandeagertoabsorbthenewtracksfromtheirupcomingLP,‘Ideas’.Notimewasted:theyquicklyshowedthecrowdwhytheyareoneofLeeds’finestliveacts.HawkEyesblewthelidofftheSocialClub,performinganexplosivearrayofmetal.Tracksplayedtonightincluded‘KissThis’,‘NASAvs.ESA’and‘Headstrung’,eachproducingawaveofnoddingheadsthatbrokeoneachdrumpulsation.Theirnewdrummerisananimal,andthebandasawholeareexceptional.Anintriguingnight.Jonathan Lees
Pulled Apart By Horses @ The Leadmill, Sheffield
Takingtothestagetothenot-so-dulcettonesof‘RequiemforaTower’,it’sclearthatPulled Apart By Horsesmeanbusiness.Bigbusiness.Twoalbumsinandthreateningtobreakthelockonthedoorofmainstreamrock,theyhavealottoproveandtonight,inSheffield’sTheLeadmill,theydosowithaplomb.
Ifthesonicassaultofopener‘IPunchedaLionintheThroat’heraldsthebattle,then‘BromanceAin’tDead’andnewsingle‘V.E.N.O.M’wagethewar.BothtracksarefromnewalbumTough Loveandtheheavybutremarkablytightriffsarerecallednoteperfectly,displayingjusthowfarthebandhavecomeasaliveunit.
Thenotablytattooed-older-maledominatedaudiencelendsitselftosomeformidablecirclepitting,eveniffrontmanTomdoesputthekiboshononeaudiencemember’sdrunkenrequestforawallofdeath.PulledApartByHorsesarenotpugnaciousmen:infact,theycomeacrossasahumbleandwell-groundedfourpiecewhoprofessthemselvesthiseveningtobe‘justabunchofshitheadsplayingmusic.’Allhumblenessaside,thereisdefinitelysomethingabouttheirepic,chuggingbreakdownsandbrilliantlyludicroussongtitlesthatseemtodemandariotouscrowdresponsemorebefittingofaSundayderbybetweentwoYorkshireteams,creatingajubilantatmospherethatlastslongintothenight.Missionaccomplished.Jenessa Williams
Submotion Orchestra @ The Wardrobe, Leeds
IwasintherarepositionofreviewingabandIhadneverlistenedtobefore,ararebutgoodposition.Beforegoingtothegig,IbegantoconjureupmyownideasaboutSubmotion Orchestra.Mythoughtsweresolelybased
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ontheirnamebutitturnedoutmypredictionscouldn’thavebeenfurtherfromthetruth.Theyweren’tquitetheorchestraIwasexpecting.
EnteringapackedoutvenuewasmyfirstindicationofSubmotion’spopularity.ForthefirsthalfofthesetIcouldn’tevenseethestage.Perhapsthiswasapositivethingthough,asIcouldmakemyjudgmentsbasedsolelyonwhatIwashearing.
Towitnesssuchanarrayofextraordinarysoundswasmindblowing;itwashardtotellwhetherIwasatanindiegigoranundergroundrave.ThebestwordIcanusetodescribetheatmosphereinTheWardrobewas‘buzzing’;therewasn’tonestillbodyintheroom.Itwasalsointerestingtoseethemixtureofpeopleatthegig,provingthatSubmotion’smusicreachesawideaudience.
ThevoiceofsingerRubycouldeasilyrankhighamongstsomeofthegreatestdancemusicsingersofourtime:similartoKatyB,butwithmuchmoredepth.Thisvoiceiscomplimentedsoperfectlybytheuniquedub-step-meets-jazzsoundcreatedbytheothermulti-talentedmembersoftheband.Allhailingfromvariousdifferentmusicalbackgrounds,eachmemberbringstheyownflavourtotheexceptionalSubmotionOrchestra.TheirnewsingleIt’s Not Me, It’sYouisdefinitelyonetoaddtoyouriPod.Stacie Lloyd
Extra Curricular @ Hifi, Leeds
It’sthestartofthenight;we’reallthinkingaboutdancing,butnooneisatthatlevelwherealcoholhasreplacedinhibitionsowe’reallawkwardlyshufflingatthefrontofthestage.Thehardcorefansmighttakeitupageartoatentativetwostepinpreparationforthebandbutthewholeroomisselfconsciouslyholdingontotheirdrinks,savouringeverysip,becauseotherwisewe’regoingtohavetothinkaboutwhattodowithBOTHarms.
HoweverassoonasExtra Curriculartaketothestage,drinksarethrownback,clothesarecomingoffandeveryone,andItrulymeaneveryone,getsdown.StrangersaredancingwithstrangersandeveryonehasforgottenwhethertheirhairlooksalrightorifthatguyfromFridayishereyet.Soonenoughthewholeroom
issweating,thekindofsweatthatnooneisgoingtojudgeyoufor,thekindofsweatthatmakespassersbyonthestreetjealousbecauseyou‘vehadabettertimethantheyhave.
It’snotjustthemusicExtraCurricularcreates-it’stheatmosphere.Thesetwasperhapsalittletooshort(theycouldhaveplayedallnightanditwouldn’thavebeenenough)butitdidleaveeveryonewanting(andchanting)formore.Hana Walker-Brown
Arthur Rigby & The Baskervylles/Hunting Bears @ Nation of Shopkeepers, Leeds
OpenersHunting Bearshavealush,fullsoundwhichisimpressiveforafourpieceandowesmuchtothedoublebass/violincombo.BattlinghardagainstShopkeepers’punk-friendlyacoustics,there’sabuzzofchatterthat’sneverquitequasheduntilgorgeouscloser‘OnlyinMySkin’,atender4-partharmonycountrychorale,leavesthemajority’scollectivejawhanging.Personalfavourite‘HeavyTree’alsopacksabitofapunchonceitgetsgoingbutthisgentlebandcoulddowithperfectingtheircrowdhandling.
Arthur Rigby & The Baskervyllesarenextupwithamassivepopsoundandaboomingbaritonevocaldelivery:Ican’thelpbutfeellikeI’mbeingsungtobya1920saviator.Thatsaid,it’sthecreative,vibrantbrassarrangementsthatmakethisreallyspecial:fanfares,choralesandtheoccasionalsweepingflutelinehaveapastoralcharmandgivethewholesoundamassivemid-rangeboost.Oneparticularlyeffectivesonghastherhythmsectionpoundingoutalowgroovethatshowcasesthisband’searfortheoverallpackage.
IfIamtogripe,allthemostenergeticandbestwrittensongsseemtocomeatthestartandIcouldn’thelpbutfeelliketheperformanceseemedtosettledownabittoomuch.Also,thedrummer’ssenseoftimingisliberalatbestbuttohiscreditIthinkitaddedabitofextraenergytoproceedings.TheseareveryminorcriticismsthoughasArthurRigby...areoneofthemostinventivebandsI’veseeninalongtime.Inaword:sterling.Tim Hearson
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Pengilly’s/Garnets @ Brudenell Social Club, Leeds
OpeningupthenightisGarnetswhoaremellowandspaceyoftheilkofHernameiscalla,TomorrowWeSailetal.Theslowmovingcompositionsshowalotofpromisebutprovesomewhatformulaic.ThiskindofmusicneedsepicrisesandfallstograbyourattentionbutGarnetsmusicbyandlargeplateausaroundthemid-range.Also,thelaptopadditionsseemslightlytokenisticgiventheonstagekeyboard.Don’tgetmewrong,alltheingredientsareinthere–Garnetsjustneedsthestonesandthevarietytoshakethingsupabit.
Pengilly’sareabitspecial.FrontmanRicHollingberryhasafaceyou’dlovetopunchandanunabashedlysouthernwhine(thinkTheKooksdialledupanotch)buttheirsoundiscaptivating.Strippedback,synthladenandcerebral,there’sadarkgroovetotheseminimaltunes.Leadsingle‘Toby’sHill’startswithHollingberrylayeringupaloopedchoralebeforedippingintoawarmbathofelectronica.AddinsomeRadiohead-worthybasslines–alsoashamelessripoffoftheonefrom‘TheImmigrantSong’–anddrumsthatsizzleandshimmerandyou’vegotabandwhodeserveeverybitoftherecentradioairplaythey’vebeengranted.Ahomecrowdandfairlypackedroomgivethisgigagreatatmosphereleavingmeverylittletoquarrelwith.Tim Hearson
Asa Hawks/Round Window/Iona Dhrum @ Carpe Diem, Leeds
LasttimeIwasatCarpeDiem,someonecameinandspatatthebarmaid,followedbyapitchforkwieldingmobshouting‘burnthewitch!’Ireallyshouldgetdownmore.
Actually,it’snotbeenthatlong(thoughthespittingpartistrue)butithasbeenratherremissofmenottocheckoutCDandGrainDivisionandtokeepaweathereyeonwhat’sgoingdowninthetown.NaughtyEd.
I’vealwaysbeenabitwaryof‘projects’andwhenJessKershawannouncesherselfastheprojectIona Dhrum,warningbellsstarttochime.ShethenstrikesupanetherealkeyonherRolandandsingsaboutdriftystuff.Thedriftystuffisnotreallyherthoughandhardlyadecentmatchforhervoice,whichisstrongandwarm.Fortunatelyshepicksupaguitaranddoesherselfjusticewithsomemoreearthytunes.Thisisthegoodstuff,stickwithit–beloud,beproud,beJessKershaw.
IstartdoodlingabitofstickmanpornduringRound Window’sset,whichisneveragoodsign.Theyaredefinitelyproficient,butthemusicisinterestingratherthanexciting–ablendofprog,folkandgoodoldfashionedrock.It’sabit...indulgentandtwiddlyandcan
besummedupbytheleadsinger’sconfessionof‘writingthisoneinaconservatory’.Thelastsongreallystepsitup,though,inclassic‘Who’style–thisisreallywhateverythingelseshouldsoundliketoo.Getoutofthatconservatory.
Despitecomingonat10.45,The Asa Hawksshownosignsoffatigueandstrikeupajauntycountry...sorry,‘Americana’,numberthatischockfullofjoiedevivre.Katy,inaverysparklytop,comesacrossasaYorkshireKirstyMcColl,vocallycharmingandapproachable,whiletherestofthebandcreatesaDickDale/JamesYorkston/JohnnyCashgroove.It’sfunny,it’senjoyable...it’sbloodycheekyinplaces(especiallytheliftingofaCureriffandthecasuallydroppedinhomagetotheDueling Banjos)butmorethanthat,thebandarelovingit.Thatmakesthemverylikeable,formeandtherestoftheaudience.Youmightlikethemtoo.Rob Wright
Kane-Hession-D’Silva/Swinepipe @ The Fox & Newt, Leeds
Thiswasthefirstina(hopefullylongrunning)seriesofjazz/improvgigsunderthenewFuseboxbanner,actuallyacollaborationbetweenarevivedLeedsJazzandareactivatedLeedsImprovisedMusicAssociation(LIMA).Don’tknowaboutyoubutI’mexcitedalready.
PriortothisgigIhadn’treallyappreciatedthefullrangeofinstrumentsincludedintheclarinetfamily.Swinepipe,atrioconsistingofRichardOrmrod,HelenBainesandOllieDover,comearmedtotheteethwithdifferentversionsoftheinstrument,andareheretoeducateanyonepreparedtolisten.TheyopenwithanAstorPiazzollatangowhichhighlightsthetraditional,warmlywoodysoundofthestandardclarinet,butthenmoveontoapiecewiththreebassclarinetstocreateadeep,hypnoticdrone,andfinishwiththeireponymousanthemwhichdoesagoodjobofcreatinganearsplittingstormofnoisenotunlikeelectricguitarfeedback.No,really.
LeedsborndrummerPaul HessionandLeedsbaseddoublebassistDave Kanearenostrangerstothenationalandinternationaljazzandimprovscene,whilesaxophonistKarl D’SilvamayonlybefamiliartoLeedsaudiencesfromhisotherbandTheTrumpetsofDeath.HessionandKanedominatethistriowithsometypicallyfuriousplayingfromtheformerthatcooksthemusictoboilingpointrepeatedlythroughouttheset,andKanerisestothechallengewithsomeragingplayingthat’sclearlyutterlyexhausting.D’Silvaseemsabitunsureofwhattodointhequieterpassages,possiblypromptingHessionandKanetokeepthingsloudandfast,anapproachwhichseemstosuitthesaxophonist’spenchantforshort,repeatedphrasesanyway.Steve Walsh
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The Pigeon Detectives @ Elland Road Stadium, Leeds 18 AprilLeeds’definitivebeerylad’sbandliterallyplaystotheterracesinwhatisprobablytheirspiritualhome.Thisdateprecedesa16dateUKtourinMayofconsiderablysmallerindoorvenues.
Born to Brew/Chris Sharkey @ Fox & Newt, Leeds 20 April Virtuosic,maniacaljazzkeysmithMatthewBournebringshisesotericduoBorntoBrewtotheFox&Newt,supportedbyTrioVDguitardemon,ChrisSharkey.Moist.
Monmon/Round Window/Snakepot Fanny @ The Packhorse, Leeds 21 AprilThelowlyshowingoftheheadlinersGarageRockalbuminlastyear’sVibrationsFightBeforeChristmasshouldn’tputyouoffgoingtothisgig.Thealbumjustgetsbetterwithrepeatedlistensandthesongshaveextrawallopwhenplayedlive.
Rhubarb Bomb 5th Birthday ‘The City Consumes Us’ Launch @ The Orangery, Wakefield 21 AprilWakefieldmusicfanzine,RhubarbBomb,is5yearsofageanditlookslikethey’rehavingabitofado.ThelineupconsistsofastellarbunchofWakefieldstaplesincludingTheSpills,PiskieSits,RunaroundKids,MiMye,ImpandStGregoryOrange.Thelaunchisalsoinaidofreleaseofaspecialbook,TheCityConsumesUs,apledge-fundedbiographyoftheWakefieldmusicscene.
Renegade Brass Band @ Hifi, Leeds 22 April Ahorn-basedfunktacularfromSheffield,thesecanholdtheirownagainstthelikesofHypnoticBrass,YoungbloodandHorndog.
Sir Richard Bishop/Michael Flower Band/Herb Diamante @ Fox & Newt, Leeds 24 AprilTheFox&NewtisrapidlybecomingTHEplacetocatchthecreamofavantgardeandleftfieldbandsandmusiciansinLeeds.GuitaristSirRichardBishopfoundedSunCityGirlsthirtyyearsagobutisaprolificcollaboratorand,probablyhismodusoperandiatthisgig,soloperformer.MichaelFlowerdoesmagicalthingswithnoiseandHerbDiamantedoesweirdstuffinsong.
Submotion Orchestra @ The Trades Club, Hebden Bridge 26 April ClassyLeedsjazz/dubstepoutfitfeaturingsomeofthetopjazzmusiciansthecityhasproducedinthelastfewyears(includingTommyEvans,SimonBeddoe)andtheseductive,smokyvocalsofRubyWood.Lastyear’sexcellentdebutFinestHourdeservesawideraudience.
From A Bad Girl @ Heart Community Centre, Headingley, Leeds 28 AprilThisquintetfeaturesNorwegianvocalistKariBleivik,recentlyvotedVocalistoftheYearintheJazzYorkshireAwards2012,andthebandusejazz,Scandinavianfolkmusic,experimentalandimprovisedmusicinsettingsofthewordsofSwedishpoetKarinBoye.ThevenueisarecentlyopenedcommunityandartscentreinHeadingley.
Live at Leeds @ All over Leeds, 5 MayYes,it’stimefortheannualday-longmusicslogthatisLiveatLeeds.You’lllaugh,you’llcry,you’llprobablyneedanaphalfwaythrough.AbsolutelysomethingforeveryonewithLosCampesinos!MarinaandtheDiamondsandTheEnemyrubbingshoulderswiththelikesofScroobiusPip,GhostpoetandBlacklisters(thoughprobablynotactually,couldyouimagine..?).
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It is a sad fact that the music industry is not as groovy as everyone would like to think – there is still a lot of gender-based inequality out there… and it really needs to go the way of the dinosaur. Fortunately, music tends to attract the sort of people who want to do something about it, as Kate Wellham discovered at the inaugural Wombeatz Conference. Some of this may come as a shock to you…
It’sInternationalWomen’sDayandwe’reonourwaytoaman-hating,hairy-leggedmusicaleventsomilitantthatit’sbeenorganisedexclusivelyforgirls.I’mimaginingitasasortoftrainingcampwherewewilllearnsuchdarkartsashowtorenderamaninfertilewiththeflickofasingledrumstick,andhowtoclosethepaygapbytakingour17%fromtheremovalandsaleofhisnowunnecessaryorgansasmaracas.
Theinconspicuousvenuehasbeenmadeslightlymoreconspicuousbythesporadichangingofpinkandblueballoonsbothinsideandoutside–theonlyindicationthatanythingsinisterisgoingon.
Yes,pinkANDblue.ANDthere’saboyhere!Andinsteadofplanstotakeovertheworld,therearebiscuits.
Whatsubversionisthis?
Sneakingapeekintothevariousroomsrevealsmanyperfectlyfriendly-lookingwomenteachingandlearningthebasicsofsoundengineering,DJingandrecording–thetechnicalsidesofthebusinesswherefemalesareundeniablyunderrepresented.
Whatisclearfromthehappyparticipantsisthatthisobviouslyfeelstothemlikeasafeplacetoaskanykindofquestionnomatterhowsillyitseems,toplay,togetthingswrongafewtimes,andtotrysomethingcompletelyalien,withoutworryingabouttheconsequences:afundamentalneedinorderformanyofthesewomentoevenbegintotrysomeofthesethings,astheyeachlaterexplain.
“We’renotsayingwe’rebetterthanguysorwewanttobeseentobebetterthanguys,it’snotaboutthat,it’saboutofferingtheopportunityandencouragementtogetmorewomentotrystufflikethis,”saysSarahStathamfromLeeds-basedorganisation,Wombeatz,whoareresponsiblefortheevent.
Sarah–whoisinabandherself,EsperScout-goesontoexplainthattoday’seventisnotabouthatingmenandwantingthemtogoawayandleavemusictous,itismerelyaboutgivingwomenanenvironmentwheretheycanexperimentwithsomenewskillsoutsidethetypicallytestosterone-heavymusicsceneinwhichtheywillfindthemselvesimmersediftheydivestraightin.
Andit’sthedivingstraightinthatistheonlywaytolearn,butwhichsadlyseemstobethemostintimidatingpartforwomenwhowanttotrytheirhandatanythingtodowithmusictechnology.
Ifyou’reamanreadingthis,andyou’reinanywayinvolvedinmusic,thenyou’llprobablyhavefeltsometrepidationatattemptingsomethingbeyondyourtechnicalability;maybeifyou’reamusicianyou’llhavefeltthenauseatingnervesthatcomebeforeaperformance;orifyou’vepromotedthenyou’llhavehadtofrontuptosomeoneatsomepoint.Butthechancesareyouwon’thavefeltonthebackfootfromtheverystart,becauseofyourgender;youwon’thavefeltalleyesintheaudienceonyouforthewrongreasons;youprobablywon’thavebeenreferredtoasaboyband;youwon’thavebeenblankedcompletelybyabusinesscontactwhorefusestotalktoyoursort;andyouwon’thaveexperienced–actuallyexperienced,ratherthanimagined–thecrushingexpectationsfromeveryonearoundyouthatwhateveryouareabouttodoisprobablygoingtobealittlebitshit,withanymistakeyoumakemerelycementingpreconceptionsofyourinability,addingextrapressuretoeverythingyoudo.
Isitanywonderthatfewerwomenthanmenarewillingtoventureintothatworld?Andbecausetheydon’t,theyremainararity,andthewholecycleperpetuates.Welcometojustsomeofthereasonsthateventslikethisonearesoimportant.Clearlyit’stheinitiallackofconfidencethatALLnewcomersofeithergenderexperiencewhichisholdingonlythewomenback.
Andifyou’rewonderingwhyIthinkthisishowwomeninmusicoftenfeel,it’sbecausethisiswhattheytalkaboutduringtoday’spaneldiscussion.
Thediscussionbeginstentatively,butquicklybecomespainfullycandid,withaudiencememberssharingtheirconcerns–bothrealandimagined–withapanelwhohaveallseen,heardandexperiencedsimilarthings
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before.Althoughthereisverylittleinthewayofdownrightdisrespectthathasbeenshowntoanyoneintheroombymenintheindustry,itistheinnocentassumptionsthathurtthemthemost.Theassumptionsthattheywon’tbeasgoodastheyare:“Iget‘you’reloadsbetterthanIthoughtyou’dbe’alot,whichisnicebutwhenyouthinkaboutitit’sreallysad,”saysKeliiCompulsive–frontwomanofObsessiveCompulsive,labelowner,punkclothingentrepreneurand‘zineeditor-ofthefeedbackshegetsduringgigsandsoundchecks,probablyfrompeoplewhodon’thaveatenthoftheexperienceshedoes.
Andit’snotjusttheperformerswhogetit:“Ialwaysfeelthatamalesoundtechnicianstartswith100%credibility,andthenanythinghedoeswrongistakenawayfromthat,whereasIstartwith50%andhavetoworksohardtobringthatuptoalevelwhereI’mrespectedasmuchasheis,”saysHazelPlummer,oneofthebestsoundtechniciansofeithergenderinthecountryrightnow.Shealsorevealsthatsheonceworkedforsomeoneatavenuewhowouldnottalktowomenatall,andtogetaroundthisshehiredasmanyfemalesasshecould,tomakesurehehadtogetdamnwellusedtodealingwiththem.
AlsoonthepanelareJoKira–aDJwhoconcedes(tothegeneralagreementofall)thatotherwomeninthebusinessdon’talwayshavethemosthelpfulattitudeseither(“womencanbebitches”),andwhodressesupwhensheplays,butstrictlyforherself.
Infact,allwomenintheroomacknowledgethathowtheylookisoftenmademuchof,whichcanleadtosome
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confusionwhenwantingtoexpressthemselves,butwithoutbuyingintotheideathatit’sthemostimportantthingaboutthem.“Iliketomakeaneffort,butIdon’tseewhywomenshouldhavetogettheirkitofforbesexyinasituationwhereamanwouldn’t”,saysKelii,whoisalsokeentopointout“Idon’thaveaproblemwithmeninmusicatall,I’minabandwithsomeofthemandthey’rebrilliant.”
Castingaglanceatthepilesoffeedbackformspiledonthedeskattheendoftheday,Ican’tseeasingleonethathasn’tmarkedtheeventasa10/10experience,withcommentshighlightinghowrelaxed,funandvaluablethedayhasbeen.
Clearlynoteverybodywillbenaturallyskilled,dedicatedorinterestedenoughtocontinuetoaprofessionallevelsimplybecausethey’vebeenofferedtheopportunitytolearn,butwithouttheopportunitytolearn,themusicindustrycouldbemissingoutonthosewhoarethatskilled,dedicatedandinterested.
Wombeatzneedfundingtocontinuetheirbrilliantworkinevents,equipmenthire,trainingandnetworkingaimedatwomeninmusictechnology,andthemoreinterestthereisintheirworkthemorelikelytheyaretobeabletogetit.Soifyouthinkyoucanhelpthem,wouldliketoparticipate,orwouldliketolearn,havealookattheirwebsitewww.wombeatz.com.Also,IcannotendthispiecewithoutmentioningImmiCardyakaDJImmiYeh,directorofWombeatzandwithoutwhomthiseventwouldnothavetakenplace.
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