M A D O N N A L I V I N G L E G E N D O R P S E U D O - S U P E R S TA R
KANYE WEST / BEYONCÉ / ARCHITECTS / NOEL GALLAGHER
CONTENTS 3 NEWS 4 LIST OF LEGENDS 5 MADONNA 6 GUILTY PLEASURES 7 FUTURE LEGENDS 8 FEMALE LEGENDS
A message from the editor Who would you define as a legend? Jimi Hendrix – a guy who could take an unbelievable amount of acid and play guitar with his teeth? Or how about David Bowie – a man who can change genres like underwear, and was brave enough to break TV performance barriers in 1972 by looking camp, wearing a spandex suit, and throwing his arm around his guitarist? Or maybe even a band called The Beatles… You may have heard of them. We have decided to not only examine past legends, but also look at current and future legends – the ones our children and grandchildren will still be listening to. Our main feature appreciates women legends in the music industry, as we know they unfortunately don’t get the credit they deserve. Other features include Jon McClure, front man of Reverend and the Makers, discussing his top five albums of all time, as some opinions on legends from people in the industry. A wonderful, enthusiastic, and lovely team of students who have a passion for music journalism accomplished this edition of Audio Addict in one day. Legends, the lot of them!
10 NAME YOUR LEGENDS FALLEN LEGENDS 11 KANYE
Editor Front Section Editor Reviews Editor Website Director Production Editor News Editor Features Editor Podcast Editor
Kenya Scarlett Minnie Wright Will Ackrill Rob Sayers Callum Cornwell Aaron Jolliffe Matt Bisgrove Andrew Yates
12 WHO ARE OUR LEGENDS 13 ALBUM REVIEWS 17 LIVE REVIEWS 18 REVEREND & THE MAKERS
CONTRIBUTORS Tom Staniszewski, Charlie Hill, Daisy Hearn, Megan McMillan, Flip Kloet, Steven Fox, Martha Gregory, Ash Valentine-Wels, Lydia Hughes, Greg Hudson, Harry Smith, Gabbi Marsden, Emily Gunn, Paige Mathis, Amy Jones, Ben Hindle, Fraser Moule, George Wilde, Rich Lowe, Joe Price, Connor Cass, Nathan Butler, James Balow, Josh Pauley, Niamh Moore, Kaitlyn Ulrich, Adrianne Goron, Isha Shah, Zoe Coxon, Katie Vowles, Chloe Eaton, Dan Cook, Geeorge Parr
Website: audioddictlegends.wix.com/audioaddictlegends / / Email: audioaddicteditors@hotmail.co.uk The Audio Addict magazine and blog is produced by students on the BA (Hons) Popular Music Journalism course at Southampton Solent University with help from students on the BA (Hons) Music Journalism course at University of Chester. The views expressed in the magazine and blog are the contributors own and as such the university and its staff cannot be held responsible.
NEWS Slipknot guitarist, Mick Thompson, stabbed in head Mick Thompson, guitarist of Slipknot, is currently in hospital after an altercation involving his brother. Medical assistance is being given to Mick and his sibling Andrew. Confirmation from the police has been given to Billboard that the Thompson brothers have both sustained severe injuries – Mick suffering stab wounds in the back of his head. It has also been confirmed that neither brother’s injuries are life-threatening.
Muse Tour British arena rock band Muse have announced the release of their seventh studio album Drones to be revealed in June. The symphonic space rock trio have unveiled UK live dates for The Psycho tour, as well as a six small venue tour in March.
New Order take publishing to Universal Universal Music Publishing have signed New Order to a worldwide administration deal. The band’s catalogue of albums will now be globally represented by Universal Music Publishing - albums such as ‘Power, Corruption & Lies’ and ‘Republic’, and songs such as ‘Blue Monday’, ‘True Faith’ and ‘Regret’ being included. Representing original and current New Order members Bernard Sumner, Stephen Morris and Gillian Gilbert, Prime Management’s Rebecca Boulton has revealed to reporters, “We’re really happy to be signing our catalogue to Universal Music Publishing and consolidating our great relationship with [President Europe] Paul Connolly, [Creative Director] Darryl Watts and all the fantastic staff at Universal.” The band was formed in 1980 following the breakup of Joy Division. Ash Valentine-Wells
The knife fight took place at Mick’s home in Clive, Iowa early yesterday (March 11). Iowa State Patrol stated the pair were both drunk on their arrival. Slipknot, heavy metal band famed for their costumed stage shows, launched their first UK tour in more than six years in Sheffield in January 2015. Words by Harry Smith
The 12-track LP is considered to encompass their traditional themes of science fiction, deep environmentalism and political discomfort. Frontman Matt Bellamy stated: “to me, drones are metaphorical psychopaths which enable psychopathic behaviour with no recourse. The world is run by drones utilising drones to turn us all into drones. This album explores the journey of a human, from their abandonment and loss of hope, to their indoctrination by the system to be a human drone, to their eventual defection from their oppressors." Following a teaser clip of Muse mixing in the studio earlier this week, the track ‘Psycho’ will be released at 6:00pm today, March 12th on their YouTube channel, followed by the first single ‘Dead Inside’ to be available on March 23rd. Lydia Hughes
‘Kurt Cobain: Montage of Heck’ Trailer Released The trailer for Brett Morgen’s fully authorised Kurt Cobain documentary, ‘Montage of Heck’, was released to the public last night. The documentary was first aired at The Sundance Film Festival in January this year and is set to air on HBO on May 4th in America, and in cinemas in the UK in the Spring. The documentary features never before seen footage, demos, and journals by the late rockstar, who committed suicide in 1994 after battling depression and drug abuse. It is the first official documentary on Cobain, with his widow Courtney Love allowing a journalist to see their personal possessions and home videos for the first time ever. This led to the title of the film ‘Montage of Heck’, as it was the name of a mixtape Morgen found among Cobain’s possessions. When talking to Rolling Stone Magazine, Morgen said of the film: “I didn’t want to make a celebration of death... I wanted to make a celebration of life. I just wanted to give Frances a few more hours with her dad.” Both Courtney Love and Cobain’s daughter Frances Bean are named as executive producers on the documentary with Morgen named as director.
Snoop Dogg fronts anti-gun campaign Snoop Dogg, along with artists Aloe Blacc and Jhené Aiko, have signed up to front the anti-gun campaign ‘#I’mUnloading’. The initiative serves to encourage the public to not invest in the gun industry through their 410k retirement plan - the campaign thus also being known as Unload Your 410k. In the promotional video for the campaign, Snoop Dogg says, “I’ve been
affected by gun violence over the years is through deaths of friends and family members and associates. I’m unloading for my loved ones that I lost. Unload and join the movement.” The website unloadyour410k.com has been set up for employees to check if their funds are being invested in gun manufactures, and what they can do to remove this. Ash Valentine-Wells
THE TOP FIVE LEGENDS JIMI HENDRIX
KANYE WEST
DEATH GRIPS
AMY WINEHOUSE
TAYLOR SWIFT
ST VINCENT
MARVIN GAYE
DAVE GROHL
KENDRICK LAMAR
KURT COBAIN
QOTSA
FRANK OCEAN
ARETHA FRANKLIN
DAFT PUNK
GRIMES
LEGENDARY, NOTORIOUS, YOU JUST CAN’T IGNORE March 9th: for some it is just a regular day, for others a day to remember. The true hip-hop addict probably knows why. 18 years ago Christopher Wallace, a.k.a. ‘The Notorious’ Biggie Smalls, died at the age of 24. Reason for yours truly to dig a little into the history of this legend and try to trace the tracks B.I.G. left in hip-hop scene. ‘It was all a dream’. The first sentence that announced high hopes for hip-hop in general. Biggie’s ‘Juicy’ reached the charts and it was clear that this wasn’t just the next ephemera from the Big Apple. After his album Ready to Die was released, hip-hop changed and our notorious legend began create his legacy. The main question is: what makes him a legend? Firstly, the music. We’re talking about the ’90s here. Hip-hop was developing in a big way and pretty much every rap legend we know nowadays was working on their debut album. Music-wise, B.I.G. managed to take the boombap-sample hip-hop to a higher level. A somewhat humdrum sound made way for fresh, funky beats accessible to a wider audience and gangster hooks made way for more soulful refrains. Although the lyrics were still about fucking, making money and straight up thuggin’, his delivery made it all feel a little less aggressive. Of course it’s not only the music that makes this
legendary figure. Unfortunately, also the tragic story, which brought his career to a sudden end and left a huge scar on the global hip-hop scene. March 9th ’97 Christopher Wallace stopped his car in front of a red light when a dark Chevy Impala pulled up next to him. The driver shot several bullets towards Wallace’s vehicle, of which four hit the American rapper, and left him for dead. But out of sight is definitely not out of mind in the case of B.I.G. After his assassination, his music instantly achieved legendary status. There is no hiphop party without a proper Notorious banger. Mr Smalls was a lyrically gifted artist who was able to spread a message that’s so real it grabbed you from the first words. Whether you’re a hip-hop lover or hater, everybody appreciates Biggie Smalls’ sound. Every year rappers remember the icon in different ways. This year, Diddy started the tributes with #MissingYouChallenge, posting a picture of him and Smalls. Kendrick Lamar created an amazing freestyle over a Biggie’s ‘The What’. Although this legend is long gone, his music keeps inspiring young rappers to do the same as he did. Period. Words by Flip Kloet
MADONNA LIVING LEGEND OR PSEUDO-SUPERSTAR?
Serving pop for an admirable 33 years, Madonna has truly raised herself to legend status. Springing on to the music scene in the early 1980s with contagious Madonna used to be a legend. USED to be. That was until in the early noughties, when she decided to start parading around in leotards that were far too small for her and create music that was far from the masterpieces that she’d created to gain the title ‘Queen of Pop’.
tracks such as ‘Into The Groove’, ‘Like A Virgin’ and ‘Holiday’, which I still see standing as pop music landmarks to this day, Madonna was swift to proclaim her place in the hierarchy of music legends. Even today, she continues to embody this, with the most recent example being continuing with her performance after an unfortunate fall at this year’s BRIT Awards. Whilst other artists may have been
Her latest track ‘Living For Love’, failed to make the top 20 on the
embarrassed or furious about this disaster, Madonna was adamant
Radio 1 Chart Show this week. Showing that up against artists
to be unbeaten, persevering through any injuries and showcasing
such as Taylor Swift, Madge is being forced to take a back seat in
exceptional routine to the best of her ability.
the music industry.
However, I believe that Madonna’s current actions aren’t the only
It’s not just the music that’s letting Madonna down either. We all
thing that makes her remarkable. During the course of her career
know that Madonna has never been shy about her sexuality. In
she has planted an array of milestones, challenging norms that
1992 she released her own book entitled ‘Sex’, filled with graphic
have not only changed views on women in music but womanhood
images of her performing various sexual acts with both models
as a whole. Prime examples that spring to mind are Madonna’s
and porn stars.
1990 Blond Ambition World Tour, where she questioned the taboo
In the video for her 2005 hit single ‘Hung Up’, the first 20 seconds sees Madonna undress and then bend over with a close-up of her pale backside. This kind of imagery continues throughout the entire video, with, at one point, Madge rubbing her lady parts along the floor like a dog with worms. Now at the age of 56, Madge is mum to her four children Lourdes, Rocco, Mercy and David. Eldest child Lourdes is now 18 years old - an age where any child may find their parents embarrassing, especially if they are posing in patent underwear for magazines.
of female masturbation, and release of the book ‘Sex’, which a large proportion of society regarded as too explicit but became an iconic feminist statement. Even to this day, Madonna continues to promote her sexuality. Whilst people may frown upon this in a 56 year old woman, it makes the statement that a woman can utilise her sexuality at any age and no one has the right to say different. Madonna propelled herself to her iconic status not only through her influence on music. She showed that she was in control of her own image and career by becoming a figure in other mediums such as film and fashion, flouting stereotypes. Fundamentally, she became a dynamic and robust idol.
When talking to The Daily Mail, Madge said ‘At this point, Rocco
To deny Madonna as a musical legend is crazy. With such an ex-
doesn’t care, it just goes over his head. He’s like, “Oh, mom.
tensive career behind her, I can’t see any reason to claim that she
Mom’s being mom.”
is neither worthy nor deserving of the position of a symbolic artist,
It’s not just Madge’s lack of clothing that grinds my gears, and it
even in today’s industry. For me, for as long as she continues to
certainly isn’t her age, it’s the fact that she has gradually ruined
produce music and defy what is expected of her, Madonna will al-
her legacy in the past 10 years by producing music that, quite
ways be one of the most definitive, inspiring and influential people
frankly, is no way near as good as it used to be.
to grace pop music.
Words by Martha Gregory
Words by Aaron Jolliff
GUILTY Pleasures One person’s treasure is another person’s trash, and unfortunately, Audio Addict’s writers listen to a lot of trash. From Daniel Bedingfield to Abba, Enya to Ringo, here the team justifies their favourite bangers and clangers without looking like bumbling idiots.
Ash Valentine-Wells: Regardless of what mood I'm in, Redbone will always pick me up; Guardians of the Galaxy has so much to answer for. Flip Kloet: Shabba. He makes cheesy songs, but I like it because it just cheers me up. He’s a completely stereotypical guilty pleasure, but it is what it is. Martha Gregory: Steps… Yes I know, mega cringe! They were my favourite band as a child so I will always have a soft spot for them in my heart. Their songs are just so upbeat and happy; it's hard for me not to like them. Joe Price: Is Enya a legend?! I want Enya to be a legend.
Rob Sayers: Scott Stapp is my guilty pleasure because he's a completely broken lunatic. This along with his hilarious "HYYEAHHHHH" voice makes for 24-carat comedy. Zoe Coxon: Michelle Williams. Destiny's Child are arguably one of the most influential girl bands of all time. This song is both brilliant and terrible at the same time. Greg Hudson: It might be popular to slag off Ringo Starr's songwriting, but I have to admit that here he came up with something quite catchy, weird and wonderful. There’s also some cool guitar licks in here. Aaron Jolliff: My guilty pleasure is Madonna because her music is just enjoyable and uplifting pop. You can't help being captured by her songs and finding yourself singing along to them. Harry Smith: New Wave legends Squeeze make it as my guilty pleasure. The pleasure, I get from their classic storytelling, keen melodies and cute harmonies; but the guilt, I feel when I watch their videos and see Jools Holland stomping around smoking cigars and playing boogie-woogie. Kenya Jay Scarlett: My guilty pleasure David Bowie, because he's David Bowie. Andrew Yates: It will come as a surprise to no one, but Freddie Mercury or just Queen in general. Always loved them, always have. Matthew Bisgrove: Damon Albarn. He's an innovative, creative soul. Personally, in my eyes, he's to our generation what Bowie was to his. Obviously not in the same extravagant ways, but in his own innovative, interesting ways. Charlie Hill: Regardless of being into more alternative heavier music, if anything by Michael Jackson comes onto a playlist or on the radio, I feel compelled to sing along to the song no matter what song it is. Louise Morrell: My Dad always used to listen to ABBA, so I have a lot of attachment to them. We also listened to them on the way to my Grandma’s funeral - they just have sentimental value to me.
Future Legends It’s been said that modern music has come to a standstill, with everyone looking back instead of forward; particularly with the increase in sample-based genres, retromania is becoming almost impossible to avoid. But even artists who break away from current trends still need inspiration; artists such as Mitch Stevens, known to the world as Silver Bear Recordings prodigy Cholombian. And who better to get those creative juices flowing than a legend, an innovator – somebody who did what nobody had done before? Thrust into the public eye back in 2013, when he took a turn on Bestival’s main stage, Stevens’ subtle blend of atmospheric wonder and deconstructed hip-hop instantly made him one to watch. If legends don’t follow the herd, then Stevens is certainly no sheep. “A lot of the artists I consider legends don’t sound like they’ve had a huge influence on my work,” confesses Stevens. Typically for one with such an open-minded approach to music, Stevens believes the term itself is completely subjective: “[It’s] just as open to interpretation as music is. If their work has impacted you enough for you to remember forever, they’re a legend.” So who are Stevens’ hidden heroes? If they aren’t obviously reflected in his work, how is it that they’ve impacted on him? Perhaps most surprisingly, he turns to Atlanta hip-hop duo Outkast first off. “I’d never heard rap music like theirs when I first heard it,” he enthuses. “They’re one of the most consistently perfect hip-hop groups in the world. “Kanye West is also a legend to me,” he continues, admitting that it may be controversial opinion, but he believes the Yeezus rapper is truly gifted. “He’s
purple of legends: “No one can craft music like Prince. That man is a genius. He has the ability to make me feel so many emotions and I genuinely have no clue how he does it.” An interesting combination of acts, and although not directly related to Stevens’ own work, all have clearly ignited his creativity. In the upcoming months alone, Stevens has fresh music on the way along with a brand new live show, set to debut at the inaugural Common People festival, the latest brainchild of Rob da Bank, taking place in Southampton in May. Describing the new material as “darker and more destructive” than his previous work, Stevens tells us: “There’s still the serene elements from before, but now there’s this foreboding atmosphere that wasn’t present before.” Not content with all that, Stevens is also preparing for the launch of Limited Health, a collaborative project with close friend Luke McFarlane. “With music sales dwindling somewhat in recent years, we’ve felt like the value of music amongst people isn’t quite what it used to be, so we’ve changed the emphasis a little,” explains Stevens. The pair plan to release a compilation in early summer, which although available for free, will encourage downloaders to donate money to Research Autism. Perhaps then, Limited Health will be the defining moment for Stevens. Although not designed to increase his fame, the project will surely impact people’s lives – Stevens’ own definition of a legend. In that light, although he would never admit it himself, Stevens is already becoming a force for change, a legend in the making. Words by Ben Hindle
S N E E U Q R ILLE
K
Female Music Legends
“Who run the world? Girls!” You may have heard Beyoncé’s statement lyric soundtracking your grocery shop in your local supermarket, pulsating out of a teenager’s car as they whizz past or blurting out of every radio station. Do girls run the world? In today’s music industry, Beyoncé became the first woman to have her first five albums reach number one in the Billboard charts; she broke the iTunes record when her self-titled album sold over 800,000 copies in three days and she manages her own empire. Does this put her in the league of legends? The music world is awash with male legends. From The Beatles to Hendrix to Elvis to The Sex Pistols, each is hailed for their talent, their innovation and their larger-than-life personalities. Where, though, are the female legends, the women who cultivate their own image, who subvert the ideals of how women are expected to act, look and sound? Writer at The Independent Fiona Sturges believes that the “media perpetuates certain ideals of women,” these ideals of image and performance mediated to the audience in the form of sex appeal. “The mainstream press, the newspapers that more people buy, are obsessed with the gossip, their love lives or what she is wearing
today. How they got into the limelight, which is hopefully through talent, is secondary to these other elements.” Country singer turned pop queen Taylor Swift peaked at number one in the UK Charts with her recent album 1989. A certain song about a curly haired One Direction member makes an appearance and she also alludes to the “long list of ex-lovers” that will tell you she’s insane. For Swift, heartbreak creates hits, so why not write about it? For the media, heartbreak creates a gossip-rag staple. With headlines such “Taylor Swift’s Boyfriend’s List: 10 Guys The Singer Has Dated” and “Newly-single Taylor Swift and Ed Sheeran getting ‘increasingly close’”, the musical credibility of the female star is ignored and instead her private life is put into the spotlight. What’s missing is the gutsy side of Swift. At just 25 years old, has anyone else taken on the major corporation of Spotify, demanding to have her entire back catalogue removed from the semi-free streaming service, and won? That is legend status worthy. Yet, it may be that, for women, the legend status might not hold any importance to them. Music is their life, placing their passion out into the public for the fans to enjoy. Walking onstage night after night to the appreciation of all those in attendance may outweigh the feeling
of being called a legend. For punk rocker Viv Albertine, the status of legend is unnatural: “People calling me a legend is ridiculous, if you cut me do I not bleed?” Guitarist for the all-female punk band The Silts, Albertine views herself as a regular person, undertaking the mundane tasks of everyday life, a far shout from her touring days after the band disbanded in 1982. “I thought, legend? Fuck off, I’ve been pushing a broom around my kitchen for the last 10 years.” After a 27 year break from music, the guitarist faced criticism when picking up the instrument once again: “what the fuck are you doing? You can’t sing, you can’t play, you’re too fucking old, you’ll make a fool of yourself. It was all the stuff I had heard in The Slits.”
a defining force in the acceptance of women in the punk scene. Formed in the punk glory days, The Silts injected their rebellious streak into the scene with their resistance to the norm placing them at the forefront alongside punk titans The Sex Pistols. Initiating the acceptance of women in the genre of rock, Albertine can be rightfully termed a legend in her own right. As for Madonna, this female star paved the way for the expression of female sexuality in the music industry. With many media outlets focusing on women’s image in the form of sex objects, Madonna subverts the conventional appearance of women, wearing certain clothes to express her sexuality, inspiring a new confidence in women. Sturges highlights “In the case of Madonna, invention is to do with sexuality. It’s not just a woman getting naked on stage, her performance is underpinned by ideas.”
Yet, the musician’s passion did not fade. Her creative flair causes her to reminisce on her successful career, “I had made an album which, 35 years later, is still top 50 albums of all time across the world.”
Innovation and inspiration is what connects these women together. While many may not set out to become legends, their passion for art and talent in music and resistance to being controlled and moulded into an industry model is what places these female artists as legends in the music canon.
While Albertine may not view herself as a legend, The Silts became
Words by Niamh Moore
Name Your Legends Johnny Hopkins
Triad Publicity and former Head of Press at Creation Records
“Billy is a charismatic and prolific musician, painter, sculptor, printmaker, writer, poet. Kurt Cobain had about 50 of Billy’s album’s in his collection. Jack White asked him to paint live behind the White Stripes on Top of The Pops, and when the programme said ‘no’, Jack tattooed ‘B Childish’ on his arm. Over the last 35 or so years without a manager or the clout of a major record company or publishing company, Billy has built up a very dedicated following across the world and has made over 150 albums. He’s also created about 3000 paintings. But it’s not about the quantity of work, it’s about the quality, energy, depth and honesty of his work. He has a clear creative vision and strong principles. I started going to see him play live when I was about 14 or 15 and still find him inspiring today. I was lucky to do his press for a few years – he generally doesn’t work with PR people. He’s a great bloke.”
Laura Snapes
Features Editor at NME “St Vincent’s Annie Clark never settles for anything less than excellence and she wields that excellence as a scythe against any petty gender or genre concern that might purport to stand in her way. Her uncompromising work ethic is a huge influence, and her peerless music the perfect soundtrack to acting upon that inspiration.”
‘Fallen’ Legends What is it that happens when stars become superstars – legends? IIs it a medical condition? Is the air they breathe more rarified? Or is it that they simply become unstable, rendering them seemingly incapable of standing upright? When Madonna fell down steps on the O2 Arena stage at February’s Brit Awards, there was a palpable draft created by the audience’s gasps. But the crowned ‘Queen of Pop’ is just one of a long line of artists who have fallen before her. Just this week, 21-year old rising star Ariana Grande took a tumble during, appropriately enough; a performance of her hit ‘Bang Bang’, falling to her knees with a bump. Perhaps setting the standard for televised awards shows, Iggy Azalea fell backwards off the stage at Hollywood’s Avalon Theatre during last year’s MTV Video Music Awards pre-show, only to be helped back on by a couple of security guards. To her credit, she carried on like a trooper. Falling doesn’t seem to dent the reputation or ‘standing’ of the artists though. Azalea posted an Instagram video of her fall, accompanied by #StillFinishedtheSongTho and #TheShowMustGoOn, prompting a multitude of well wishes from fans. Madonna’s fall prompted tweets from fellow celebrities and contemporaries; Cher, Beyoncé (a one-time faller herself) and Miley Cyrus to name just a few.
“The show must go on,” the saying goes, and rapid recovery is often essential – TOTO’s Bobby Kimball appeared at the Hammersmith Odeon on the last night of their 1982 tour with his leg in plaster to the thigh, having fallen off a German stage a couple of nights before. Jessie J was similarly gigging, with her foot in a cast shortly after ripping a main ligament in a fall at Wembley Stadium. Rapper Buster Rhymes who nose-dived off stage in November last year, only to surface with his head covered in blood, wasn’t able to continue with his show, but kept his reputation intact, tweeting from the dressing room, "We done fell off stages and broke limbs while performing and kept going!!! We stay on Level 10.”
In September, it was Indiana’s turn - where after his third fall, he tweeted, “Hell I gotta just pay more attention.” It’s become such a habit, that he may be writing it into future shows. It’s by no means an exclusive club that celebrities seem to be falling over each other to join, and the seriousness of some of the injuries prove that accidents, some quite serious ones, can happen to stars – even legends. For Madonna, who arguably in recent years has been losing fans and public support in general, her fall helped publicise her new album release and put her back into favour with the masses. It was a fall, but not a fail.
For Margaret Nash, a Newcastle-based Robbie Williams fan, things didn’t go so well either, as she suffered a broken arm after he fell on her in the audience.
But perhaps the traditional pre-show good luck message of ‘break a leg’ ought to be updated. Or at least come with the phone number for a personal injury lawyer.
Perhaps the unluckiest artist to join the ever-growing list of ‘fallers’ is multi-award winning American country singer Luke Bryan. As they say, two’s a coincidence, but three’s a trend. After an initial fall in North Carolina in early 2014, on his ‘That’s My Kinda Night’ tour, he returned to the same state in May and fell again, resulting in a number of stitches to his leg. After announcing, “What is it about North Carolina that makes me bust my ass?” he advised the crowd, “Please YouTube that s**t.”
Words By: Fraser Moule
KANYE WEST: D**k or Not? Without a doubt, one of the biggest names in terms of not only music, but also culture, is that of Kanye West. Across the years, there have been multiple critically acclaimed albums, countless huge singles, ingenious sampling and the birth of a fashion brand - along with an actual birth of a child. His influence on hip-hop is evident, but at times, forgotten. What’s remembered often, is the weird stories we all hear and see. West’s media portrayal is as tabloid as it gets. From what his daughter and wife are wearing to the shops (admittedly places like Louis Vuitton rather than ASDA), to the fact he has humus on his rider, the media coverage of West’s life resembles that of any gutter celebrity. There are more sides to West than that of a several Rubik’s cubes - over his career we’ve seen every possible angle - and at times he does come across bipolar. The two Zane Lowe interviews he’s given have showed two very contrasting sides. First was manic, angry, rantspilling bitterness about not being accepted by fashion brands in particular, as a creative. However, fast-forward 18 months and West was in the same studio with the same interviewer, yet this time he breaks down in tears, cracks jokes and just seems genuinely normal – just with ideas that may be anything but. Around this time, he’d launched his new fashion ranges and was over here in the UK getting ready for a performance at the Brit Awards. What was seen was arguably the most impactful performance in Brit Awards’ history, as he debuted fiery new single, ‘All Day’. Despite being there to represent British musical culture, there was no chance of grime making it to the Brit Awards organically, which shows the impact of a West co-sign. However, despite doing a seemingly good thing in bringing grime to the attention of Daily Mail readers, people criticised him for just having them there, arguing that there should have been a verse or two from Skepta. Fast forward a couple of days and there’s a surprise Kanye West gig announced in London, involving artists such as Novelist, JME, Meridian Dan, and huge US names like Raekwon, with Skepta also playing a huge part of the night.
His live shows are something ethereal and powerful, with a back catalogue of available material that would make Drake or Eminem weep. His most recent album, Yeezus, is rightly lauded as one of the best sonic developments in hip-hop and his continuing inventive musical creativity is incomparable. West is basically the personification of LG - sharp, innovative, and the first to the concepts, that are then replicated by competitors once the ideas have become accessible for everyone. There is no denying his arrogance, but there must come a point where you deserve the ability to be so. Using the dick vs entertainer scale – where, for example, we would see Jeremy Clarkson rapidly tipping the dick end of the seesaw down (knocking off Jeremy Kyle and Mel B on the way), West is a seesaw reference point that is without doubt heavier on the entertainer side. Will Ackrill
Where Do Legends Come From? In 1954, Elvis Presley ad-libbed ‘That’s Alright’ in Sun studios, making Beethoven and Tchaikovsky roll in their graves. In 1965, Bob Dylan went electric at the Newport Folk convention, causing Pete Seeger to lose his rag and a generation of beardy folk fans to get their woolly jumpers in a twist. In 1972, David Bowie adorned a snow-white tan and a cat suit, becoming an alien icon to all the young dudes and scaring their parents all at the same time. What happened in 2015? Sam Smith won loads of awards and George Ezra sang about Budapest. Or something. Perhaps it’s overly negative to discard all of pop’s current superstars as boring, throwaway acts whose relevance will only fade with each new singer that follows them. But even the most optimistic of music fans will struggle to imagine the work of Ed Sheeran or Rihanna having the same longevity as that of The Beatles or The Rolling Stones. At the same time, in recent years certain pop stars have managed to create media uproar - be it because of dresses made of meat or swinging naked on wrecking balls, these incidents hardly seem comparable to other moments of controversy ingrained in the history of popular music. Moments such as David Bowie openly discussing his sexuality in Melody Maker, and John Lennon proclaiming he was bigger than Jesus, moments that have influenced popular culture and society in a big way. Without this kind of controversy and innovation, the kind that music has become accustomed to in the last 60 years, where are tomorrow’s legends going to come from?
Well, perhaps the beauty of legendary status is its unpredictability and its subjectivity. Nobody can pretend to know who tomorrow’s legends will be, because they’re probably sat in their bedrooms, jotting notes on scrap paper and clicking buttons on GarageBand. They are most likely oblivious to the magnitude of the work they’re doing, and even if they do go on to be mega stars in their lifetimes; there’ll be plenty of people who detest everything they have to say. Not only is it futile to identify legends without the benefit of hindsight, it’s also dangerous. How many bands have been labelled as the ‘saviours of rock and roll’, only to sink into obscurity under the weight of their new accolade? Rather than trying to guess who will be a legend, this unpredictability is something to be celebrated. If it was perfectly transparent who the next music legend was going to be, music would be a lot less diverse, and a couple of people in suits would be a lot richer. Words By: George Wilde
Purity Ring
Another Eternity Rating: 6.0
For a group that partly relied on the trap music trends present around the release of Shrines, it’s hard to imagine the Canadian synth pop duo would create an album that would stick to that same formula, as the fans of electronica’s subgenres can be fickle. So, have they moved on from 2012’s hot music craze, and can they avoid judgement from the electronica fanbase? A good stretch of Another Eternity lacks what Shrines so slickly embraced – the trap beats, with their skittering snares and hi-hats, and booming bass hits are not so prolific this time around; the strength of the duo’s honest pop song writing is left exposed, for better and for worse. The balance between dance instrumentals and vocals was half and half on their debut, with the vocals carefully weaved into the mix - but now they’re the main focus. When the writing is tight, the melodies excel - like on the relaxed lead single ‘Push Pull’, as Megan James’ voice glides over the hypnotic, triplet-filled groove. Alternatively, when the vocals are dull, the song suffers. ‘Repetition’ is a romantic track that aims to be sultry and achieves it to an extent, but lands at awkward and a little cheesy. Additionally, the emphasis on the vocals
is problematic as it highlights the sterile nature of James’ voice when compared to Purity Ring’s adversary Grimes a.k.a Claire Boucher, whose voice is far more distinct and emotive. James sounds lifeless and cold for the full 35 minutes, making no attempt to break away from her tried and tested ethereal serenading. The lyrics warrant at least brief analysis, although don’t provide much of a deeper insight into the artistic vision of the duo, as most of what’s sung is typical pop subject matter: sex, relationships and the emotional feelings associated. These trivial experiences are coated in a thick layer of grandeur and mystery; in the same way Ofelia saw the world in Guillermo Del Toro’s Pan’s Labyrinth. While there is far less trap influence, Purity Ring still find ways to make you shake. ‘Stranger Than Earth’ has a hip-shifting groove that reminds you that dance music, as sterile as it can be, can actually incite voluntary body movements. Corin Roddick’s instrumentals utilise synthesisers more often than the manipulated vocal samples that were so prominent on Shrines. The songs sparkle, swell and snap with bright arpeggios, airy synths and reverberating snares. There’s a level of professionalism and sheen, less
patchwork samples and more bespoke arrangements. While it shows flair, it unfortunately takes away some of what made their first album so captivating. The weirdness of their previous work has disappeared as their sound has transitioned from spectral and distinct to commercial. Either that or the effect has just worn off. ‘Repetition’ is the only song where the manipulated vocal samples are obvious, but the way they are utilised is heavy-handed and is the one place where Roddick’s composition sounds amateurish. Another Eternity shows that Purity Ring have lost what made Shrines so brilliant. At their best there is a harmony between James and Roddick that feels whole, but the majority of the time it feels like hearing two disconnected artists rather than a duo. The ghostly samples that worked so well in partnership with James’ fantastical lyrics are gone, and so is Purity Ring’s signature atmosphere and tone. Words By: Daniel Cook
Album Reviews Drenge Undertow Rating: 8.0
After the release of their aggressive, murky self-titled debut album, the Loveless brothers, aka Drenge, are back with a second album. The initial feel of Undertow is one of progression, as the brothers are now finding their feet and gaining a serious reputation. There are many added elements to Undertow which were missing from the first record. One of those is the addition of bass player Rob Graham, which has enabled them to experiment with new things that they would originally have been restricted by if it were just the two of them. Album opener ‘Running Wild’ feels like it could have been on the debut album, but its gloomier and heavier, andwould fit perfectly into an opening scene of a horror film. It sounds polished and dirty at the same time, creating a unique sound - an element that is ever-present throughout the album. ‘We Can Co What We Want” again is typical Drenge, with its grimy riffs that have a slight blues feel about them. The song is centered around a highly addictive stomping groove, to which Eoin Loveless
adds lyrics telling anyone who dislikes Drenge to fuck off. Adding a dash of arrogance for good measure: “No one tells us we are wrong and no one tells us when to stop”. The gothic riffs then suddenly change to something groovier, with track “The Snake” - it having instantly memorable riffs, almost like the Black Keys if they were playing doom rock. There are still a couple of things that need tweaking, for example “Side By Side” feels like Drenge have tried to add too much to one song, like hand claps and heavy emphasis on Rory’s hi-hat which makes it stand out (for the wrong reasons), which leaves it very disjointed. Undertow also needs something a little different to spice it up, which is where the title track comes in. ‘Undertow’ is a tremolo infected instrumental with enough power thrown in to tear through concrete. Overall, Undertow combines elements old Drenge material but with new influences, showing clear sign of progression. Although there may be a few loose hinges, Drenge have made the difficult second album look very easy. With lots of grimy riffs with the added impact of arrogant snarly vocals, is it too early to say they are future legends? All will depend on the success of Undertow. Words by Tom Staniszewski
Single Reviews
Blur – ‘Go Out’
Architects - ‘Shadow Of A Doubt’
Sigma ft. Labrinth - ‘Higher’
Ultimately a great comeback for the band, Blur‘s latest track ‘Go Out’ really brings the nostalgia factor, taking you back to the ‘90s with a classic Britpop feel. Distorted guitar and deep bass make up the core of the track along with space rock synthesizers which give the song eccentricity. At centre stage though is Damon Albarn‘s boy next-door vocals. Although simple, they enhance the loud ruckus of chords. The deep and heavy bass gives the song a great groove during the quieter verses before reaching the brash, climactic chorus. While it isn’t catchy enough to become a classic like ‘Girls and Boys’ or ‘Song 2′, it still has that quirky charm that their fans have come to know and love.
After a string of successful albums and a documentary, Architects look set to become legendary in their field.
There is a very detailed formula for commercial drum and bass, which is as follows: tweak the instrumental from a previous song if chart success was attained, substitute another singer who had a number one album four years ago, send it to Capital FM.
Words by Megan McMillan
Having supported groups such as Bring Me The Horizon and Suicide Silence, the quintet are not unfamiliar with the high standards of the best in British metalcore. Their latest single is just as expected: heavy guitar riffs, Sam Carter’s coarse screams, hard-hitting drums and a drop that is nothing less than brutal. With their catchy riffs and devoted fan following, Architects are certainly paving the way forward in metalcore, clawing their way to the top and proving that blood, sweat and tears definitely pay off in the end. Words by Daisy Hearn
‘Higher’ offers nothing new. Getting a slightly faded pop act who can’t sell on their own, lyrics about ‘love’ and getting ‘higher’, and drum and bass breaks stolen from DJ Fresh’s 2009 trash-bin. Generally speaking, it’s not all bad because as a pop song it’s bearable. As a dance track, however, it’s just libellous. Words by Will Ackrill
Album Reviews Oasis’ critically acclaimed second album, (What’s The Story) Morning Glory, sold a record-breaking 347,000 copies and spent 10 weeks at the number one spot in the UK Albums Chart. Displaying a massive departure from their debut, Definitely Maybe, the album featured a larger emphasis on catchy choruses and stringed instruments. Today, the album is as relevant as ever as the deluxe edition was reissued at the end of 2014. Opening up with an acoustic guitar, Oasis show a more raw contrast to their previous release before going into their signature light-hearted twang of electric guitars. The first track, ‘Hello’, acts as an introduction to the album, welcoming all those listening with muffled guitar and drums. All of these uplifting elements provide the perfect antidote for the dingy effects of the grunge movement that took the world by storm in the years previous.
20th Anniversary
Lyrically, the album delves into themes of loss and living in a working class world, with lines such as: “All your dreams are made/ When you’re chained to the mirror and the razor blade.” Although it may seem that these lyrics would suit a more depressing, pessimistic-sounding album, Oasis turn this around in the chorus with more get up and go, leading the end result to be motivational for all those trying to escape the class structure. Even today, these lyrics ring true, as they’re applicable to everyone. 2015 signals the 20th anniversary of (What’s the Story) Morning Glory?, yet regardless of its age, the album remains as relevant as it was back in 1995. With its signature guitar tone alongside its inspirational songs such as ‘Champagne Supernova’ and the classic ‘Wonderwall’, Oasis are the fundamental starting point for all rising rock bands. 8.5 Words by Charlie Hill
Oasis (What’s The Story) Morning Glory
Noel Gallagher’s High Flying Birds Chasing Yesterday With his Oasis days behind him – despite constant rumours about the band reforming –Noel Gallagher returns after three years with his second solo album. Though it may contain some epic arena ballads, Will Chasing Yesterday show us that Gallagher can create his own sound as a solo artist? The album title alone immediately suggests Gallagher wants a fix of Oasis back in his life. There are some tracks that contain pristine melodies like ‘Lock All The Doors’ which is pure rock & roll but lacks creativity and flair. Sadly this reflects the album as a whole. You can already hear the stand out tracks being sung in arenas such as ‘In the Heat of the Moment’ and ‘You Know We Can’t Go Back’, the former especially as it has an extremely catchy vocal hook. Unfortunately this doesn’t save Gallagher from creating a mediocre album when he should have created one that would define him as a solo artist.
New Release This lack of musical diversity on Chasing Yesterday is really disappointing, especially from someone who is extremely talented and has been in one of the most successful bands of all time. Gallagher has tried to incorporate some different grooves that have a slight psychedelic feel about them such as ‘The Right Stuff’, but then there are songs like ‘The Girl with X-Ray Eyes’, which feels like a second hand ‘The Masterplan’. Even an appearance from former The Smiths guitarist, Johnny Marr, does nothing to improve the album. Chasing Yesterday should have been the release that unveiled the true depth of Gallagher’s talent and musicianship – instead it’s just lacklustre. In a world where small bands are crying out for key influences, the album is just uninspiring. Overall it just lacks creativity and feels like it has no heart. 4.0 Words by Tom Staniszewski
Benjamin Clementine: At Least For Now The North London singer-songwriter Benjamin Clementine has had a seemingly bumpy ride up to now. Brought up by very strict Christian parents and he began busking in Paris, making a hard living pedalling his own soulful interpretation of the world around him. His fearless performance on Later With Jools Holland in 2012 showcased his raw, refreshing talent, and that same boldness would be expected on At Least For Now. Stark at first with just his voice and heavy-handed piano, ‘Winston Churchill’s Boy’ warms up when strings and percussion are introduced. The narrative seems to echo Clementine’s own journeys in Paris, crossing the channel, with instrument in hand, embraced by the French culture as a foreign character keen to find a place to belong (this same sentiment is present in ‘Cornerstone’). Clementine’s voice erupts at the climax of the song where he launches into a surprising jazzy melody in the higher register of his range. His exceptional voice sounds best in these moments, where he confidently bursts into loud howls and screams. However, with his sporadic cadence and overzealousness with wordy prose, there’s a forced sense of a traveller’s worldly wisdom, which sometimes comes off as lyricism for the sake of it. At times it’s vague and at moments ridiculous, with lines from ‘Nemesis’ like “if chewing was to show you how much I cared, I’d probably be wearing dentures by now” which feels like misplaced humour, and the refrain, “treat others like you wish to be treated” which is plainly unimaginative. It feels as if Clementine avoided all artistic compromise or influence from peers and has written in his own uncensored style, which is admirable, despite the lyricism and delivery suffering on occasion. A simplified style would emphasise his fantastic voice, but his signature approach to song craft would be unwantedly diluted. A haunting and honest sound like this is best preserved in its purest form. 6.7/10 Words by Dan Cook
Of Empires: Stranger Sensations Fuelled by radio-friendly indie rock melodies, Brighton-bred rock outfit Of Empires’ debut EP Stranger Sensations is a short burst of solid but unoriginal indie-infused rock. Noticeably less blues-focused than previous work, the EP is a relaxed classic rock & roll release meant for warm summer days. Vocalist Jack Fletcher leads the way with his confident vocal performance, but the infectious guitar riffs and accompanying drumbeats are the real strong point here. These features reach their peak on final track ‘Stranger’, a track that defies much of the EP by showing that the band can still stomp with the best of them, despite the more laid-back sound to the EP. The bridge is the major selling point – an undeniably catchy riff and flawlessly simple drumbeat combine to create the EP’s best moment. Of Empires show that they are more than capable of writing catchy guitar melodies throughout, though their inspirations are not exactly hard to identify. The Arctic Monkeys-esque guitar-work that accompanies the chorus on ‘I Want You To Get Mad’ is great, but the similarities are all too conspicuous. Elsewhere, the EP’s bluesiest moments sound a lot like The Black Keys, while the melodies sound like they’ve been ripped straight out of the Britpop scene. Ultimately, however, few could deny that Stranger Sensations holds some classic rock riffs slowed down and given new life by a modern twist. The influences may be obvious, but they combine to create something new. 8.0 /10 Words by George Parr
LIVE REVIEWS NME Awards Tour - Manchester Ritz - 26.02.15
The NME Awards Tour has seen some huge names over the years - from Coldpay, to Arctic Monkeys. It’s a tour that guarantees some brilliant up and coming bands. However, NME have dived into the punk direction a bit too much. The tour just doesn’t seem to have that shimmering appeal it once had.
They shouldn’t worry; they aren’t really missing anything when it comes to the Fat White Family. They’ve been pretty keen in the past to bad mouth successful bands, yet haven’t really backed up their own credibility with their music. The crowd seem to enjoy them though.
The Wytches kick off the evening and sound like a collection of poorly distorted noises. Not many people are here apart from a few teenyboppers.
Palma Violets are closing the show with the longest set. Even the promise of a usually crazy performance from Chilli Johnson (bass) can’t seem to stimulate after seeing two mediocre bands, a changed setlist from previous shows in the week sees ‘Best Of Friends’ get the biggest reaction.
Slaves are next to arrive on stage. Slaves have received huge amounts of praise since their single ‘Hey’, and it’s easy to see why. The concept of having a lead singing drummer (Isaac Holman) is genius. They’re something different and it’s refreshing. He owns the stage and it seems like he’s been doing it years. Most of their work is riff-driven and it works so well as ‘Feed The Mantaray’ sends the crowd into havoc. A couple have enjoyed it so much that they have been thrown out for what can only be described as horrific indecency.
5/10 Matthew Cooper
NME Awards Tour - Manchester Ritz - 26.02.15
It’s a special occasion for Manchester gig-goers, Royal Blood are in town. Their debut album was the fastest selling rock album since Noel Gallagher’s High Flying Birds, selling over 40,000 copies in its first week, and the crowd are anticipating a magnificent night. For some of them, this is their first time seeing the Brighton-based duo. They are welcomed on stage with a hair-raising ovation. Bassist/singer Mike Kerr approaches his huge amp rig, starts to establish some feedback and dives straight into ‘Hole’. The crowd bop their heads but don’t seem to engage. A poor decision opening with a B-side. ‘Come On Over’ is up next, followed by ‘You Can Be So Cruel’, and still the crowd are pretty stationary. Things liven up with the introduction of ‘Figure It Out’, a more renowned number of theirs. The circle pits open up, people are being tossed, pushed and thrown around. The gig is in full swing now. Subsequent songs ‘Blood Hands’ and the new single ‘Ten Tonne Skeleton’ have been adopted by the crowd as their own.
Ben Thatcher stands on the thrown of his kit with his arms aloft. The crowd gladly respond, opening up a mosh pit that covers the majority of the venue. The opening riff of ‘Loose Change’ reverberates around the Ritz. Kerr thanks the Mancunian faithful and introduces their last song of the evening; ‘Out Of The Black’. Thatcher climbs the barrier and dives onto the first rows whilst Kerr intricately fingerpicks the riff to the song as he waits for the drummer to regain his position. As soon as his stick hits the snare, carnage ensues. They applaud the crowd from the balconies to the stalls and lethargically walk off stage after an energetic performance. The lighting bursts back on and techies start to dismantle the onstage gear. Soaked teens filter through the back doors onto Whitworth Street West in awe of the performance they have just witnessed. All in all, a royal performance at The Ritz. 8/10 Words by Matthew Cooper
Reverend and The Makers Meet their top five Legends...
1. Sly and the 2. The Wailers – Family Stone – Catch a Fire There’s a Riot Goin’ On Still the original lineup, but I love records that produced to a sum up the time high standard with and place that they half an ear on the are made. You can rest of the world, tell there’s a slight which is done in disillusionment those three part with the Civil harmonies. It has Rights Movement great songs and but it just sounds was at a great f*****g great and moment when the syncopation of Jamaican music his playing and the just exploded onto rhythm is so sexy. the world scene. And there would be no Prince without that record.
3. The Stone Roses 4. The Beatles – – The Stone Roses Revolver The first time I heard it I was madly in love with it. It influenced the way I am now. You get a lot of bands that try and give cool answers to things like that. Like they’ll say, “Yeah I love The Byrds man.” Yeah I love The Byrds too, but without The Stone Roses I wouldn’t have known about The Byrds. It’s a massive record.
There isn’t a bad song on it. It’s a high water mark of producing. ‘Spliff Beatles’ were the best. They still had pop sensibilities about them. Everyone goes on about ‘acid Beatles’ or ‘pop Beatles’ but ‘spliff Beatles’ were definitely the best.
5. Dr Dre – 2001 Reminds me of smoking loads of ganja and when your mates first past their test and start driving. What a f*****g great album. ‘The Watcher’. I could just put the album at No.5 for that song. It’s so good.
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LEGENDS
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