contents 4- 5 ic News! Accident Mus 6- 7 Feature My Generation Article
18 -21 s@ Stereophonic dium Cardiff City Sta 22 -2 3 MMH Elliot Minor @ Ash @ Cardiff
8- 9 h Questions wit PandyCane
Barfly
24-25 ! Interview Attack! Attack
10 -11 s! @ Los Campesino Cardiff Solus
25-27 MH Sepultura @ M
12 -13 @ Threatmantics Buffalo Bar
28-29 h dethless Questions wit
14 -15 er @ The The Dead Weath London Roundhouse, A
Pendulum @ CI
16 -17 The Rage Against sbury Park Machine @ Fin rdiff
Ca Every Avenue @ Barfly
30-36 Cd Reviews:
cafe Kids, FEEDER, pabh, THE , Pierce the veil Tonight Alive, ts, one Temple Pilo Ozzy, Korn, St andon Boyd, Slash, HTDA , Br als, A7X, The Feder Butch Walker, Refused
37 with Desert Island itten Chi of spider k
Contributors A-Z ine Ballantyne Simon Ayre, Nad s, ew dr An e Le t Scot neka Sillitoe p, Keith Lerego, An Es ul Pa y, ad Br wnend Alex ul Tinworth, Ed To Natalie Smith Pa
New s !
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Darran Smith joins Accident Music! It was announced back in April that Darran had decided to leave Funeral For A Friend. A band that’s been his life for the last nine years, and one that’s had quite a history from touring with Iron Maiden to a festival second headline slot before the legendary Guns n Roses. Here is where we introduce Accident Music. One of Wales finest newer bands. With the force of some mighty musicians including drummer Mike Chiplin (ex Lostprophets), it comes with no surprise for us at Soundscape Magazine to announce that Darran Smith has joined the fold. Bassist Andrew commented saying “Darrans entrance into Accident Music was so far from orchestrated, it can only be described as “evolution”, without sounding corny it just had to happen.” Helping to bring some quality riffs and just add to the piles of knowledge and experience this band already has, we thoroughly look forward to hearing what’s to come from this addition to the band and will keep you posted with any more news we hear. Accident Music are currently recording a new EP with Darran at Pontypridd’s Unit 40 Studios. Andrew goes on to say “Our original tunes have been stripped right back and reworked to give breathing space for Darran’s style and influence to be worked into them, and the new songs are just something else entirely. Keep your eyes and ears peeled for ‘They Don’t Make Prisons Like They Used To’.”
We can only tell you as much as their bio. Expect honest British rock.
Talking 'bout my generation ------------------------Words: Alex Brady
My office is a mess. Paperwork, cuddly toys and CDs litter the floor. The latter only because I am yet to get my arse around to buying a new rack to put them in. The other day though, I decided to start putting them into alphabetical order to save me a job when I finally shelve them once more. It was during this monotonous procedure that I noticed how much ‘old’ music I possess, and how much of it is similar to that which my parents enjoy. That got me thinking about what treasures my parents have passed onto me simply through that being the music of their generation. Blondie, Pink Floyd, Queen, The Who, Led Zeppelin, Abba, The Beatles; I could go on but in short, they were lucky enough to be alive during the
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reign of artists who are unquestionably eternal greats, and I was lucky enough to be exposed to their record collection to allow me to develop such an excellent taste in sound. Then a sad thought dawned on me, who do we have to pass on to our children? A quick glance of the Top 40 Singles Chart left me appalled. Dance, rap, pop, next to no rock and for some reason, Frank Skinner. The majority of the artists in it have barely been around 5 years and many, I’m pretty sure, will be forgotten in several months; on top of that they are not exactly people I would praise on a high level for what they produce or promote. A read through of the album chart did raise a spark of hope: Glen Miller, Billy Joel, The Who, AC/DC to name a few of the more impressive folk I found scattered through it, but again these are people who were shaping music decades ago. It is nice to see they are still appreciated though. [cont]
----
I am struggling to think of any artists from the 90’s onwards who will still be riding high in our opinions by the time our children are old enough to take an interest. There are a few of problems that seem to be getting in the way of me declaring him, her and them the ultimate acts of our time. Firstly, this silly reality T.V. fad where for weeks people will make musical fools of themselves until one person is declared the best of a bad bunch, release an album or two then fall down a well I have dug to get rid of them, never to be seen again. Secondly, the plastic kids who appeal so well to today’s Disney youth. Miley Cyrus, Jones Brothers and Justin Bieber are the main offenders; they charm the kids with their perfectly modelled faces, sculpted hair and ceramic teeth whilst releasing the odd painful song with no apparent intention of producing anything great and expressing no great love or dedication to the music industry. Mickey Mouse will last longer than them and is much more attractive. Thirdly, the artists who are making a genuine impact upon the industry and fans at the
moment haven’t been around long enough for us to see how time will judge them. Hopefully, in the years to come, we will be able to look upon our children with pride as they marvel at how good these artists are. Finally and worst of all, we seem to be living in a throw away society where once all the money has been collected, the tycoons with their pin stripe suits, suspenders and cigars will move onto the next craze until the financial river has dried up. Maybe this is what is happening with all the people who pop into our lives, whether from reality T.V. or not. Whatever the reason, I view it as a lack of respect towards the consumer, and lack of love towards the artists. If I didn’t think they had what it took to make the long run, I wouldn’t delude them by giving them 15 minutes or less of fame, but that is what sadly seems to be happening. At the moment there are only two who I think will enter the hall of musical greats: Take That and Muse. Though Take That are not exactly my taste in music, you can’t deny their longevity, popularity, and success; it would also be
ignorant of me not to say that more than one of their songs has been rather catchy. They remained popular after they broke up, and later resurfaced to much acclaim and open arms. Muse on the other hand, are my type of music. Incredibly original song writing and energetic performances mated with a hint of classical music have allowed this threesome to stand number one in British music for the better part of a decade. There a few acts out there who would rival them in sound, lyrics and stage presence. I know you are probably screaming at me right now, aghast at how I have neglected to mention some band you champion but the two I have just mentioned have captured the heart of the nation and have held it for some time, as have the wonders from yesteryear I mentioned earlier. In five, ten, twenty years I may look back over this article and greatly reconsider what I have written, or praise myself for being such an insightful genius but this is not something that anyone can give a definite answer
to. So we play the waiting game and I continue to put off tidying my office.
Questions with Tom of Pandy Cane Words: Paul Esp
We don’t just cover music here at Soundscape Magazine, in the past we have featured record labels, tattoo shops and producers and with that in mind let me introduce you to Pandy Cane a fashion and music brand you’ve seen on legends like Sam Little and many more. Here’s Tom to tell us all about it.
How did you get started? I was working for a record label in the states back in ’07, and whilst I was getting some food one day I was looking at the large selection of sweets on offer, and thinking about this great Chinese franchise chain in the Midwest called Panda Express. I mixed up the words panda and candy in my head and thus I had the name. It all came out of that, I thought it worked well as a clothing brand and it has so far!
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What have you got going on at the moment? Right now, I am currently working on getting the new line out as much as possible to the world, as well as that I’m working on a new compilation out at the start of august as well as some new shirts too. That and planning for Hevy fest in August, which will be the first time Pandy Cane will be at a festival! Tell us about the new Vive Lé Panda shirts? Vive Lé Panda is basically a loose translation of long live the panda, or forever live the
panda, or there about’s, the idea of it is to help raise awareness for how few pandas are left in the wild, and ridiculous that is, and hopefully help do something about it some day! Favourite music and why? Hardest question to answer ever! At the moment I actually am listening to Coldplay, Marina and the Diamonds, Mumford and Sons and Sam Little. I Like to think my taste is fairly eclectic, I love heavy stuff, light stuff, techy stuff, folky stuff and pop stuff! Anything from botch to blink!
Favourite book and why?
That and I am currently watching all six seasons of Lost back to front. I once watched all nine seasons of scrubs back to front too (I have way too much time on my hands).
Outliers by Malcom Gladwell, It’s about the theory that if you work really really hard at something you’re going to succeed, and how all these great people have done well at doing what the love, its really inspiring! I’ve just started his latest book ‘FREE’ too, which is about how to get the most out of giving things away for, well, free.
Best thing about coming from/ being/playing in Wales? Well. I’m not really from Wales, but, being from Hereford I went to as many shows as I could in Cardiff and Newport, from my first ever gig at Cardiff University (Less Than Jake), to seeing Bayside at Clwb and every other band around in TJ’s, being able to see fantastic bands in great (and small) venues, and being surrounded by the nicest race of people I’ve ever met, can’t say it was anything but awesome.
Favourite film and why? The wedding singer. No doubt. It’s Adam Sandlers portrayal of a small town Rock ‘n’ Roll singer who never gets out of his home town, gets dumped and everything’s a bit shit for him. Then he meets Drew Barrymore who of course has a douche of a boyfriend, they fall in love and the rest as they say is history. I think it’s the Hollywood romance of it that captures me, great soundtrack and lots of references to bands like Van Halen and The Cure, Funny, romantic, and a little bit dark. Best experience in the business? I recently visited New York for business, and about two weeks before that I went to Slam Dunk with Lost On Campus and Sam Little, those two things where both notably fantastic. However, the best experiences as cheesy as it might sound is doing things like this, seeing strangers
Who are your role models/ idols? I really look up to other entrepreneurs.
wearing Pandy Cane shirts at clubs or gigs or in the street, that and being able to meet some great people. Tell our readers an interesting fact about yourself and the company? Well, it’s ALL based on pandas and sweets. Coincidentally, ‘Soundscape’ is my favourite word…
Hardest thing about the current business? Aside the obvious – Competition, keeping persistent is really hard too, sometimes it’s really hard to just keep pushing yourself
.
You can check out the current Pandycane range at http://pandycane.bigcartel.com/
Words: Ed Townend Photo: Simon Ayre
Los Campesinos!
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Plus: Right Hand Left Hand, Slow Club Cardiff Solus 21st May
Most people’s first impressions of Los Campesinos! is of a twee eight piece band that plays upbeat pop. Wrong. Dead wrong. Gareth Campesinos! described their latest release ‘Romance Is Boring’ in three words: Sex, Death and Football. And there is nothing twee about football. Tonight starts off with the sparse yet voluminous Right Hand Left Hand to a near empty venue (which was a shame). They rattled through a great guitar and drum set complete with serious manipulation of delay pedals and some smashing noise. Next came the appropriately named Slow Club who although sometimes drifted from the slow pace, was relatively quiet and calm in lieu of the amassing number of noisy students. Their great blend of strange folk-inspired pop was lost
on half of the audience and lapped up by the other half. Los Campesinos set was bitter, twisted and altogether a lot of fun. Only after a keen listening session can you really tell that behind the uplifting sounds of violin, glockenspiel and bright synthesiser there is dark humour and just plain old darkness. The crowd certainly felt this, and instead of relaxing and standing around to listen, there was about as much movement as there could possibly be. The set started out with the explosive yet eloquent ‘I Sighed. I Sighed, Just So You Know’. It’s the perfect and unashamed outlet of real angst, not the generalised fakery of emo and stupidity of metal. The upbeat fights the downbeat in perfect yet chaotic symmetry. The lyrics are elaborate and display
similar humour to The Smiths’ woeful tunes. The music itself almost matches Johnny Marr’s guitar swathes, but in a totally different way by feeling like an orchestra, but really just consisting of the slightly rock band setup. The newer songs present this feel, whilst the older material is noisy but simplistic like in ‘Death To Los Campesinos!’ Still, despite this simplicity the effect is to shake the floor and raise the voices in the crowd. Miserabilia showcases the upbeat pop whilst darkly sighing lyrically. Truly, Los Campesinos are kings of the upbeat downbeat – if only they weren’t so modest about it. 8/10
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Misty’s Big Adventure + Threatmantics Buffalo Bar 30th April
T
onight starts with the now five-piece Threatmantics. Unrecognisable from the often drunk, usually argumentative, always great folk-punk trio who signed to Domino a couple of years ago. Line-up changes have brought a forced re-evaluation which they’re growing into very nicely. A new drummer and a first human bassist, on loan, and a still-new guitarist. But
Taliesyn’s move to occupy centre stage, sharing lead vocals, is naturally the most notable change. First album favourites like ‘James Lemain’ and the blistering closing one-two of ‘Little Bird’ and ‘Don’t Care’, hurtled through as a near-medley with the clock running down, are given new leases of life as duets. Less familiar tunes, presumably from the recently completed follow-up, are
even better. It could also be said of the line between endearing and outright annoying, a line some might see Misty’s Big Adventure not so much walking as skipping along in a novelty jester’s hat with a jaunty tune in their hearts. Thing is though, all the mugging, the mock-shock mime-artist faces and you think you’ve seen them [cont]
Words: Keith Lerego Photos: Simon Ayre
----------------------------------------------------do this enough times, but they keep on winning you over. The key might be in the variety, the restless sense of invention. After an opening jazz instrumental limbers them up, tune-a-day pop gems like ‘I Can’t Bring The Time Back’ and ‘Story Of Love’ help bed in a handful of new songs. It’s also fair to say that the once on-point indie
ego-pricking of ‘Fashion Parade’ is now as quaintly outdated as the Kaiser Chiefs themselves. These, though, are both fairly churlish points and ones that, like my own initial scepticism at the thought of seeing Misty’s again, are quickly forgotten. Gareth’s slouched-shouldered grumpiness and gently raised eyebrow can’t mask the observational
lyrical touch of Neil Hannon or the psychedelic pop nous of ‘Fried’-era Julian Cope. And come half ten, as the last of the genuinely eclectic, all-ages crowd troop out and the dancer passes by unnoticed in a Specials t-shirt clearing the stage, you ponder how they manage it but have to admire the way they carry it off.
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The Dead Weather
-----------------------------------------------London Roundhouse 28th June
D
ark and brooding atmosphere falls over the London Roundhouse, a bizarre yet incredible venue in Camden, perfectly circular with a history of over 150 years. Tonight it plays host to the darkness bringers – The Dead Weather. Cutting a relatively fresh but grimy blues niche in the music scene came to be circumstantially in 2009 and have already appeared twice at Glastonbury as well as on sold out tours around the world. And why? Well… it might have something to do with their line-up. Not only does the band sport Jack White (on drums no less), but it’s fronted by one of the best women in rock, Alison Mosshart. Not only does the band sport the 21st Century sensation that is Jack White
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(on drums no less), but it’s fronted by one of the best women in rock, Alison Mosshart. She makes up the female side of duo The Kills with Jamie Hince and the two have been compared (although they sound very little alike) to The White Stripes. If that wasn’t enough they are also accompanied by two upcoming and already prevalent musicians. Dean Fertita is a touring member of Queens of the Stone Age, who plays keyboards and guitar with The Dead Weather, whilst bassist Jack ‘LJ’ Lawrence has previously accompanied White in The Raconteurs. Latest album ‘Sea of Cowards’ and the togetherness of the band is surprisingly well-knit. Their seemingly perfect fit flies in the face of recent medialed label of ‘super group’.
with the band entering to a rough blues recording and launching into a cover of Pentagram’s ‘Forever My Queen’. Mosshart towers over the crowd, walking agilely across stage monitors and stretching her gait from one side of the stage to the other taking advantage of White’s energetic yet static position behind drums. The cover rolls into the grungy wastes of ’60 Feet Tall’, with Mosshart screaming and clawing vocally through the dirt of ferocious bangs, dings and crashes.
The show starts with an introduction of influence,
[cont]
Their set is drastically dense and overwhelming, coming in at over two hours long and covering almost every song in their repertoire, and then some.Hustle and Cuss has her fawning over her microphone stand with undeniable sex appeal.
Pendulum
------------------------------------------------
Cardiff CIA 29th May
She is undoubtedly the leader of the band, and seems to allow White to take over once in a while rather than the other way around. Each song is played with fire and energy. As if that weren’t enough, the band returns with their off-the-wall opener from the sophomore album. ‘Blue Blood Blues’ has White on strangely effected vocals (sadly without much assistance from Mosshart, but she may have made the song too overwhelming) ripping out classic blues babble in an almost uncomfortably vicious way: ‘All the neighbours get pissed when I come home, I make ‘em nervous’. The colossal set ends with the brilliant ‘Treat Me Like Your Mother’ with a triumphant and ecstatic bow goodbye. 8/10 Words: Ed Townend
T
his must be one of the few occasions you’ll catch both ends of the spectrum at a concert, and what I mean by that is both chavs and rockers, young ‘uns and parents can get along in harmony and dance like there’s no tomorrow. Pendulum have been doing the touring rounds for a while now and what seems like a non stop touring schedule, and no doubt everyone that’s spoken about what they’ve seen live has been nothing short of positive. It seems to have done them well, compared to when I saw them a few years ago and sketchy vocals, their presence and most of all vocals feel much more experienced, improved and ready for the arena tours they’re playing now they’ve hit the big time.
Not quite a sell out tonight but enough for the atmosphere to raise the roof to their hits for an hour and a half, some oldies get slapped in along with newer singles from their recently released album ‘Immersion’. A typical setlist if we’re honesty but one that’s executed well and not really noticeable to the majority of drunken fans. It’s not just a music show though, Pendulum lights and set up a screen behind that only emphases and memorizes you with their deep bass lines, steady drum patterns and just holds the whole performance together. 9/10 Words: N.Ballantyne
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Rage Against The Machine
Plus: Gallows, Roots Manuva, Gogol Bordello Finsbury park, London 6th June
t doesn’t feel too long ago that the whole campaign to get RATM to No.1 was in effect. Unbelievable to think how many joined in from a home made decision to basically crash The X-Factors party.
I
row. What feels like a short set and one that the sound man obviously didn’t want too loud, just felt too short, but they do give us another taster of real punk rock with another cover. This time ’I Fought The Law’.
After the nauseating effort to obtain a free ticket we find ourselves at the gates of Finsbury Park. It’s a long wait for Gallows and someone who obviously knows nothing about DJ’s or keeping the crowd relatively entertained has hired L’Amour La Morgue and South Central. First we have L’Amour La Morgue, and if you don’t know who they are, let’s just say Ian Watkins is a co-member.
What made it so bizarre for them to open up was that the next act Roots Manuva felt like they’d turned up at the wrong gig. Going from hardcore punk rock with an angry ginger man covered in tattoo’s to a hip hop rapper was diabolical. The atmosphere felt like it collapsed within a heart beat. The best part about watching Roots Manuva was watching a rapper friend spend his time on the side while and just repeat odd phrases the main singer spouted out. Easy job aye.
However, we’re soon saved by the appearance of Gallows, and Frank ain’t half in a good mood in what looks like it’s about to shower them in good old British weather. As bizarre as it feels to watch a fairly high status band open up, especially as they open with a ballsy ‘God Save The Queen’. There’s nothing to stop them enjoying this day and Frank in his forward and menacing manner doesn’t hesitate to get comfortable with the front
Next came another atrocity, but in the form of the next DJ act South Central. There must be a point where you look out, see a whole field of Rage fans throwing bottles at you, chanting to get you off the stage, generally looking angry, even the band sound checking are giving you looks, and then... bang. That’s when you decide to
end your set with a poor techno remixed version of Nirvana’s ‘Smells Like Teen Spirit’. I don’t condone throwing bottles, but maybe on this occasion, acting cocky on a stage your just Dj’ing at, I’ll let my mind sway on this one. Shame no one hit them with something harder. Now with a field of angry Rage fans, with no mobile signal and with the weather being indecisive, Gogol Bordello do all they can to lighten the mood. With a notorious status that we know we’re in for some fun, it now clicks to me when frontman Eugene Hütz walks out on stage why I’ve seen a lot of men with his moustache style. A bit of a mix and match band or ‘gypsy punk’ as it’s referred to. Either way, they’re enjoyable to everyone and puts a smile back on everyones faces. A last minute antic see’s percussionist and MC Pedro Erazo throw a bass drum into the crowd, then himself and briefly surf on it. Finally, after a long, long day. Some good music, some bad, some outstandingly overpriced chips everyone gathers close and it feels magical. [cont]
Every Avenue
Words: Paul Esp
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Plus: MeVsHero, Gavin Butler Cardiff Barfly 28th May
Well, in the sense that everyone here is a true Rage Against The Machine fan, young or old, we’re all here for the same reason. On the screens pops up a cartoon of the devil himself, Simon Cowell. Of course, this is only received by a mass of boo’s. Rage open with classic and hair raising ‘Testify’, and only continue the onslaught with hit after hit. The crowd grows more and more frantic with each song and the thought ‘I can’t believe I get to see RATM for free’ is probably flying through a lot of minds right now. It’s really all I came to expect at this gig, a hits filled setlist, but they alter that with a cover of ‘White Riot’ and show their true punk side. Although I did expect to see ‘Wake Up’ amongst the encore. And of course it wouldn’t be a Rage gig without a speech from Zack de la Rocha and Tom Morello, or without bringing the people who made this happen on stage to thank them and present them with a cheque of the profits to give to charity. If there was a band any more deserving of respect right now, it should be Rage. 8/10 Words: N.Ballantyne
T
onight was Gavin Butler’s (The Blackout) solo acoustic debut so the turn out was pretty good when he took to the stage with just a guitar, mike stand and stool. He seemed pretty nervous but got straight into his first number ‘Lost’ and it sounded pretty good. His voice sounds different and the songs themselves obviously very different from The Blackout (who were out in force, along with most of the Lostprophets to support Gav) and they went down well with the crowd. The cover of Oasis’s ‘Half A World Away’ got a big cheer and final song ‘Dirty Little Lies’, which he had only just written, was a great end to his short set. Next were pop punk band MeVsHero, who played a tight set of unmemorable songs which could have been New Found Glory covers. They certainly played well; but nothing stood out. I’m a big of the headliners, Every Avenue. This was their first time over here from the States on a headlining tour, so I was really looking forward to
the show. Hitting the stage and straight into ‘Mindset’ the crowd went pretty crazy, singing every word along with singer David Ryan. The band played songs from both albums, with new tracks from latest album ‘Picture Perfect’ including ‘Girl Like That’ and the title track getting just as good a reception as older songs like ‘Chasing The Night’ and ‘Trading Heartbeats’. Half way through the show a few technical problems led to guitarist Josh Randall having to play the rest of the set on an acoustic guitar leaving Jimmie Deeghan to handle all electric guitar duties, this didn’t dampen the crowds enthusiasm, or the bands for that matter who seemed to be having a lot of fun on the stage and seemed genuinely happy with the crowds reactions. Finishing up the set with ‘Where Were You?’ and ‘Tell Me I’m A Wreck’, the band left the stage to cheers and shouts for more. This was a great show by a band who are used to playing to much larger crowds over the pond and you 8/10 can definitely see why.
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stereophonics
---------------------------------5th June Cardiff City Stadium
The crowd’s atmosphere was electric. Everyone seemed to be in a happy or drunken state. Perhaps the beautiful weather helped to lift everyone’s mood after the embarrassing score of Wales losing to South Africa in the rugby.
Words: Natalie Smith Photos: Paul Tinworth
However, I quickly began to realise that people really don’t like those who push to the front. After all, this is a Stereophonics gig. Some would even create a form of a human wall to prevent you getting through politely. But finally after twenty minutes my goal of getting to the front was achieved. From here the sound was truly on form. It was my first time seeing the Stereophonics live and to my surprise and delight, they sounded astonishing. Kelly Jones’s voice sounded just as good, if not better than hearing it via a CD. Along with a few solo acoustic performances and what was appeared to be a wonderful and flowing set, was then sadly interrupted by three very drunken men thinking it was a good idea to stand on the roof of the bar. In true fashion Kelly refused to carry on playing until they had jumped off. The crowd of course went mad, booing at the three men in order for the band to carry on their delightful set. Tonight was the perfect mark to the opening of Cardiff’s City Stadium with Welsh heroes Stereophonics, who played to around 30,000 people, performed an exhausting setlist of songs and ended the night with a bang - a mass of fireworks and deafening cheers. 10/10
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Elliot Minor
--------------------------Plus: Straight Lines, Gavin Butler
Millennium Music Hall 24th June
I’ve only entered the building and already I can hear the screams of what could easily sound like an arena full of girls. Gavin Butler of The Blackout fame is on stage but not in quite the way you’d expect. He’s flying solo and playing the acoustic guitar.
Words & Photos: N.Ballantyne
You forget that band members are not tied to the instruments they play and it always comes to surprise when someone like Gavin whips out the guitar to perform in a very, very serious manner compared to The Blackout. He even says so himself, and luckily for him, his voice works with this type of typical material. One thing I would pick up on is the guitar rhythms did sound too repetitive. Unusual for a band of Elliot Minor’s status not to have a touring support with them, so here we have another bunch of locals Straight Lines. Another band who never seem to stop touring the Welsh circuit usually with the likes of Attack! Attack! - which they’ll once again be supporting in their October tour. [cont]
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Ash
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Cardiff Barfly 30th June
They’ve come along way and probably been around more than these front row of kids can imagine whilst taking them in gracefully. A pitter patter of interaction from the crowd will see Straight Lines gaining some new friends tonight. So Elliot Minor are up next, you couldn’t have guessed with a room full of screaming girls, signs saying how much they adore certain members, come play here, come play there and ninety percent of the front row holding their cameras at the ready. It doesn’t feel too long ago I saw Elliot Minor and for a band I knew nothing about back then, it was a disappointing show, tonight however, even if I leave deaf from the screaming fans, it was good to see a band please and give the crowd what they want. The singer this time around is energetic as ever and doesn’t look like he’s simply here for the money and fame, and can’t wait to get off the stage. This time he’s happy to stay and embrace. For ages twelve to sixteen, I’m sure this was a engrossing experience. 9/10
A
h, Ash. A band I admittedly never fell in love with back in the 90’s but nevertheless were instrumental to me as a wannabe singer/songwriter in showing how to write catchy-asfuck tunes of bittersweet teenage melancholia. A totally killer ‘Singles’ band up until ‘Jesus Says’ - then things started to get a bit scattershot. Fuck - the first & last time I caught them was at Brecon in 2000 - So I’ve had 10 years of distance to evaluate how much nostalgia is going to colour my opinion... And being the first gig in ages where I was easily the youngest (or youngest looking) there - a lot of expanded waistlines were there to revisit Ash’s glory days and perhaps not take in the fact the band have continued to be prolific as ever. Bolstered by Bloc Party’s Russell Lissack on Keys/Guitars/ looking-sexy-but-not-exactlyCharlotte-Hatherley duties, ‘Lose Control’ kicks the shit out of the place. There’s not much room to move - the fly is heaving, but Ash achieve almost instantaneous lift-off. Tim Wheeler has never been the best of singers, but his charm as a frontman is so endearing that as smash out a series of
undeniably strong songs - ‘A Life Less Ordinary’, ‘Kung Fu’, ‘Petrol’, ‘Angel Interceptor’.... just write a list of your fav Ash tunes and throw a dart at them and you’ll hit something they played. Now this is nostalgia talking - because I didn’t really fall for the smattering of recent compositions - great songs as they are (Most of Ash’s b-sides would make most modern UK poppunkpowerpopaltpoppunkpop bands’ best songs), ‘Return of the White Rabbit’ and ‘Joy Kicks Darkness’ just don’t hit home like ‘Shining Light’ and ‘Goldfinger’ do. The strength in Ash’s material lies in the fact that they possess a knack of writing the most purest guitar-pop - laced with such a sense of alluring naivety it really begs the question why we lack bands in the noughties who can harness this power - style has overcome substance in this respect if today’s legions of useless identikit pop-punk bands are anything to go by - and until a current band can top ‘Girl from Mars’, my point will remain valid and correct. Thanking you. 8/10 Words: Scott Lee Andrews
Words: A. Sillitoe Photos: N. Ballantyne
Attack! Attack! Having just witnessed them play a storming set in the most rather fetching fancy dress outfits they could find lurking in the theatre dressing room of Merthyr College, as well cracking out a surprise cover of ‘My Sharona’ and play to only a handful of local fans, but a rather appreciative handful of grateful fans, we grabbed Ryan after the show for a quickie.
------------------------You’ve got a new single out called ‘Not Afraid’, who came up with the concept for the video and who did you work with? Ryan: We worked with a bunch of people called Sitcom Soldiers. We sent them the song, they gave us kind of an interpretation of what they thought it should be about and we all liked their concept and we went from there. They kind of took their mix of the song, it was spot on. At the end you appear to give the boy your super powers. If you could choose a super power what would it be? Ryan: I’d probably have the super power of the boy from the video. I’d love to stamp
“
The World Cup is a danger s thing when you’re in aou studio
a hole into the ground and everyone disappear from all my worries and troubles in the world. And also have the power of winning the lottery as well. No wait... know the lottery numbers in advance. That would be my special power. We seen you’ve recently been recording with
Romesh, what made you choose him? Ryan: Close to home, good friend. We just wanted to keep everything for this album kind of Welsh association. He’s a great guy, a great friend of ours and he’s done a great job on the album.
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He know’s what he’s doing and he can make it sound better that we actually are. This album is so relaxed it’s unbelievable. We finished the album two days ago and we were like ‘Have we really finished?’, and there’s eleven or twelve songs done for the album, they all sound amazing and we were like wow. I was so relaxed I spent most of my time watching the World Cup and doing my fantasy football league on the internet. And then next minute, it’s like ‘oh yeah, albums done’. I was more concerned about my football team on the internet. The World Cup is a dangerous thing when you’re in a studio because you just spend all your time watching it. Couldn’t of come at a better time really. What can we expect from the new album, is there anything that we wouldn’t associate with Attack! Attack!?
Ryan: Yeah, there is a lot of new areas we haven’t explored with this new album. A lot of territories we didn’t go to with the first album which we’ve gone to with the second album. It’s a lot more mature, it’s a lot more us. We’ve had a little time to think about it, even though we’ve had a year to record it, we still found our selves rushing at the end. There’s a bunch of awesome anthemic songs on there. We’ve got some really ambient chilled out songs. It’s a lot different to the first one, but it’s still really good. We’re really proud of it. And there’s some heavy ones on there too, just to give you a kick in the car. How do you feel about the American Attack Attack, as you both seem to becoming quite popular at the moment, there seems to be a growing amount of confusion? Ryan: Yeah there’s confusion, but people are getting them confused with us.
Everyone would agree that people are getting them confused with us. Listen to us, listen to them and obviously there’s a clearly better band. I just think we are a genuine honest rock band and I just don’t think much of them at all. You want honesty, you got it. On the other hand, I mean they are doing what they want to do, we’re doing what we want to do and there is going to be confusion about it but at the end of the day, if you like that kind of thing, you like that kind of thing, if you like us, you like us and that’s the end of it really. I don’t want to say anything bad about them. Lastly, describe Attack! Attack! in three words? Ryan: Rock n Roll
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Attack! Attack! head back out on a headline tour in October. Check their myspace for dates www.myspace.com/attackattackband
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sepultura Plus: Gama Bomb millennium music hall 16th july
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Words & Photos: N. Ballantyne
It’s one of those gigs you know is going to be full of tough, long haired, beardy beer holding metal heads, and one’s that have been dedicated to the force for some time. Low and behold, when I turn up, it is, but only a mere half the capacity of what should be a crammed gig. Gama Bomb manage to collect a little cheer upon their stage entrance, even if there seems be lacking bodies near the front. The rest must be stocking up on beer at the back of the hall. It’s not often I come across them and one that feels at home on stage and unusually quite chirpy as well. Their set matches their songs, fast and to the point. I admit, they don’t appear to be the most outstanding, best upcoming, best new live act, best new whatever... It just seems their stage presence was what hypnotised you to enjoy their music. But what I would of really liked to of seen is this thrash metal version of 80’s TV show Teenage Mutant Ninja Turtles’ theme tune I’ve heard they play (some time ago).
Smokes plunges out across the stage, the lights in all it’s metal glory of course become low and a deep bloody red. Some intro music passes and finally Sepultura take to the stage, the metal begins and gets the windmill hair effect into motion from the crowd. I’m not quite old enough to really remember the hyped up older golden days of Sepultura. Yet it’s still a name everyone recognises and respects, even if most the founding members are gone, this band still ploughs through undeniably strong. Album after album there’s just something fundamentally powerful that surrounds this band, as we witness tonight when vocalist Derrick Green over shadows the front row with his ‘doom’ and ferocious screams, along with his unsettling peering at the crowd... you just know he means business. Nothing is going to stop this band live. What looked to be worrying start with a lack of attendance was thrown on it’s back and ripped apart. The classics are played to perfection even after all these
years and I’m sure many beers were spilt in good cause for the band. Who needs bands with good looking hair when you have metal titans like these who are the real deal and will still be around long after these ‘scene’ bands today. 8/10
Q
uestions
with
Dethless
---------------------------------------------April 2007 was a very sad month for many metal fans, it was when Orange County band Eighteen Visions announced they were breaking up. It was less than a year after releasing their
Words: Paul Esp
major label debut album and came as somewhat of a surprise. The band were, and still are, greatly loved in the UK and always played Wales, including a now legendary 2
night sold out stint in Cardiff’s Barfly. We were lucky enough to catch up with Mick Deth, the bands Bass player to discuss life, death and everything in-between. How did you get started? Back in 1978 I was cut out of my mothers belly. Played music for 13 years and now I walk the earth looking for a new purpose. What have you got going on at the moment? I have just re-launched my horror based clothing line called Dethless. It’s been off and on since my band disbanded back in 2007 and now its back and ready to rape and pillage our youth.
Best thing about coming from/being/playing in Wales?
Favourite music and why? Music is and always has been my lifeline. I enjoy all types of music thrash/hardcore/punk/ death/black/industrial/classic rock/cockrock/doom... it’s all rock n roll to me.
Well I’m not from Wales but I’ve played there many times. I’m american with a Liverpudlian family. Who are your role models/ idols?
Favourite book and why?
Favourite film and why? Again, this is a very difficult question since I’m quite the movie buff. Off the top of my head I have to say “American Beauty”. There was so much in this movie that I could relate to that sometimes I think it was written about me. The story of man who has fell into a hopeless depression of the pits of a mundane suburban life and one day decided to say fuck it I’m going to make this life the way it’s supposed to be... my way.
John Lennon, Dimebag Darrell and my father. Hardest thing about the current business? Best experience in the business? Well as far as the music business, which is now in the dumps, but once upon a time... I traveled the world many times with my best friends playing music we wrote to people who felt the same feelings we felt. Whenever you get to do what you love and get paid for it, that’s what life is all about. I will forever be truly thankful for those years. Tell our readers an interesting fact about yourself? I have a 6” tongue and have been known for licking things, my clothing company specializes in women’s bloody underwear and my band was known for putting the cock back in rock.
The fact that there is a million other bands and clothing companies out there these days. 10 years ago you had an idea of what is out there and now with the internet any jackass can start a band in his bedroom and get signed. Must be nice doing your first tour in a bus that’s funded by your parents. The fact is in a year from now nobody will remember you
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Check out Mick’s clothing line www.dethless.com Clothing photos: Michelle Star
I’ve never been a big reader because my attention span is that of a corpse. Although I do love biographies, especially of rockers. I recently read “The Heroin Diaries” by Nikki Sixx which blew my mind. I grew up around drugs which I never touched but I was also in a rock band that was on the road for years so in the sense I could relate. “The Dirt” about Motley Crue is a must as well and if you haven’t read that already then you should reevaluate your life.
CD Reviews
Feeder No matter how different Feeder try to portray themselves I’m always going to hear the song ‘Buck Rogers’ floating through my head. They’re a bit like The Automatic, no matter how good intellectually their new material could be, everyone just want’s to hear that mind numbingly passive hit single. You know the ones, where you can sing along without realising, on a warms summer day enjoying life with your best friends etc etc.
The rest follows suit which becomes a bit of a drag. I think the problem here is although the album may feel fresh to fans, when we give it a re-listen, rhythms feel like they’ve been taken from elsewhere and Feeder are just ‘borrowing’ them to get by. Tracks could do with a little refinement, the deep and rusty bass is effective over certain tracks, giving them some depth and incongruity, as well as being lyrically strong. But it’s the whole pop song structure that’s blinding us from their true talent. Three quarters into the album and my minds pondering wouldn’t it be fun if they covered Motley Crüe, now wouldn’t that spice the album up. But then we hit ‘Left Foot Right’ and we’re suddenly thrown into an old school punk scenario where the guitar chords feel like they’ve been lifted from somewhere else yet again. It’s a triumphant attempt from the boys though. Words: N.Ballantyne
First track ‘White Lines’ is an eye opener that Feeder are immediately not what I assume them to be. It’s darker and somewhat 90s until the chorus kicks in. But then we have ‘Call Out’ which is the definitive ‘hit’ single for the album.
Pulled Apart By Horses For a band I accidentally stumbled upon during one Swn Festival, and for a band I’ve seen many, many times over the last few years, I’ve shamefully never picked up any kind of CD or vinyl until now. This is their first proper album release and one that definitely needs to live up to their live performance. And well, it does. If you haven’t seen PABH live, then imagine a mix of crazy, heavy, powerful screaming fun and nonsense done in a dexterous manner by four sweaty Northerners. Sounds good right? They’re the sort of band you really need a loose side with. Really, how often can you sing ‘I’ll make you dance with my balls on fire’ or even more notable hit ‘I Punched a Lion in the Throat’, and all in a way that actually sounds raw, and far from any ‘sell out’ palaver since their overwhelming coverage with press in the last year. One thing that does stand out, is from track one to eleven, their seems to be the same occurrence of pace on the tracks until you hit the final corker of a track, ‘Den Horn’. [cont]
It’s a pretty intense fast album, most of the tracks are short and most deliver that heavy punch then a knock out of a sing along. The ride may feel short but it ain’t half worth it. Their style, presence, even the album artwork is all caught in this roller-coaster record. One of the few I could honestly put on repeat all day long. Words: N.Ballantyne
The Cafe Kids I’m a huge fan of Bristol’s The Cafe Kids. In my eyes the band should be huge. The band write some amazing pop/rock songs and this, the bands new 4 track EP is no different. First track ‘Photography’ is a corker, pinned down with singer Niall’s catchy vocals and melodies, it’s a great track, with a kick-ass chorus and breakdown. ‘Hungerstrike’ has a more dancetype feel and is a cool track.
Acoustic song ‘Starting Again’ is next and is one of those songs that just gets better with every listen, a lovely little song with some of the best lyrics Niall has written. Final song ‘Last Year’ is an absolute pop/punk classic, simple as! Great verses and a top notch chorus. This the most diverse release so far from the band and really showcases the excellent songwriting of the band. Words: Paul Esp
Tonight Alive Regular readers of the Soundscape Magazine website will remember we did a Q + A with Jenna, the singer of Tonight Alive prior to the release of this record. If you didn’t see it (and why the hell not!), Tonight Alive are a young, female fronted Australian band and ‘All Shapes And Disguises’ is the bands debut mini album. The band play high-energy, catchy and hard
hitting pop/punk and this mini album contains 8 tracks (9 if you get the iTunes bonus acoustic track). Obvious Paramore comparisons aside, this is really quite good, nothing groundbreaking, but a damn fine collection of songs none the less, check out ‘Wasting Away’ and ‘I’d Die For You’ for some great melodies and choruses and ‘In My Eyes’ for a full-on, frantic drumming, pop/punk assault. I’d say ‘Ten Times Better’ is probably the best track here, great musicianship, the band’s 2 guitarist’s, Jake and Whakaio definitely have some chops and the track is a good combination of what the band do, crunching riffs and a catchy melodies and breakdowns all tied up with Jenna’s great vocals. Like I said, this is a really good release and definitely worth picking up if you are into this kind of music. Words: Paul Esp
Want your CD / EP to be reviewed by us? Just email : info@soundscapemagazine..com
Or visit the site for further submission details!
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Track 4 “Carapherelia” features guest vocals from singer Jeremy McKinnon of A Day To Remember and gives the track a heavy feel to the rest of the album. But somehow his harsh vocal works well alongside Vic’s higher softer tones and adds a whole new level to the album.
Pierce the Veil Pierce the Veil were a band I first picked up on a support slot of a Welsh band on a tour here in the UK and I fell in love them. Their music was just catchy as hell and just had something a bit different about it (a lot that came from vocalist Vic Fuentes voice being a little higher than normal). Second full length release (since being called Pierce the Veil) ‘Selfish Machines’ sees Pierce the Veil doing what they do best! A band hailing from San Diego the Mexican border area is clearly prominent in their music and blasts off from o pening track “Besitos” (which translates at Little Kisses). There’s a bit of an underlying Spanish feel to it. The album rips through a host of tracks that I wholehearted associate with PTV and I’m in love.
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fresh. If you’re a fan of Sabbath or Ozzy or just enjoy a bit of a classic rock feel then this is definitely an album worth checking out. Words: A.Sillitoe
This album is a logical step for Pierce the Veil and they’re a band I hope make it back to UK shores soon! Words: A.Sillitoe
Korn
Ozzy Osbourne I’m a fan of Ozzy’s solo stuff. His last album Black Rain had some quality tunes on it that I often find myself singing along to whilst on a long drive (usually to Wales) and I had high hopes for new release ‘Scream’. And it doesn’t disappoint. With a mix of slow tracks and the fast pacers, Ozzy’s writing skills never fail to deliver. With a career spanning longer that most of what today’s bands could only dream of; it amazes me that Ozzy’s writing is still so
It doesn’t seem like too long ago I was rocking the baggy jeans, the unnecessary dangling chains, the gigantic Slipknot hoody, the patches sewn on to my school rucksack and spiked jewellery to top it off. Now, Korn have been around the block for some time, one of the few surviving nu-metal bands that still have a dedicated fan base. Like the majority of though, there seems to be a pattern. You have the classic and raw albums of their first years, what then turns into a mediocre and a few years of flagging material, then classic stage. Where a band have seen the errors of their ways and decide to try and gain old raw essence back. Korn aren’t the only guilty of this, Limp Bizkit, Deftones have all done the same. [cont]
We only have to get to the second track ‘Oildale (Leave Me Alone)’ to see Korn have put in that extra attention to detail to bring back what first put them on the map. The bass line is rigid along with the technical drum beats and rugged guitars. Fieldy’s slappin’ bass lines is somewhat of a gimmick with Korn, in a good way though as we wouldn’t want it any other way, and oh, how they sound so sweet and fresh on this album. The lyrics are the usual barrage of the ever so emotional Jonathan Davis, because it wouldn’t be ‘cool’ to see him scream out some happy summer tunes. That’s the fine tuning with Korn, Jonathan Davis’ vocals will always be the most recognised and strong point in the band. Such tracks ‘Oildale’ and ‘Are You Ready To Live’ are the hit setters, only because they manage to mix all the right elements together, both tracks however are conveniently slung at the start and end of the album. If we’re all being honest here, the rest feels filler. But it’s a huge step up for Korn and for the old school fans to enjoy and remember the good ol’ days. Words: N.Ballantyne
Stone Temple Pilots I’ve dabbled into the genres around when Stone Temple Pilots were at their biggest last time around and out of all the bands surrounding them at the time, STP were probably my favourite. I was never a huge fan, but nevertheless, tracks like ‘Plush’, ‘Creep’ and my personal favourites ‘Days of the Week’ and ‘Trippin’ On a Hole in a Paper Heart’ (which you may have heard on one of the Guitar Hero games) were really good and catchy and sold well enough to allow this bands to play stadiums.
STP are a band I would’ve liked to stay as they were and in my mind as having some great tracks and taking alternative rock to something I could listen to. But it’s once again been pushed well and truly aside and labelled boring and it may take even longer to recover for me this time. Spotify for this album if you wanna check it out as an older fan, but don’t spend the money on it, you’ll feel short changed. Words: A.Sillitoe
So with Scott Weilands return I was intrigued to see what the band had brought to 2010 and what new wonders they could create. To be honest, I was greatly disappointed. 2010’s attempt was nothing short of the boring bland grunge and alternative rock we were given last time round, except this time it was dated and we recognise how bland it was. There were a few hidden gems on the album, such as ‘Huckleberry Crumble’ which was rather lively, but considering this frontman had helped write some of the amazing music Velvet Revolver produced whilst fronting them, I was very much disappointed to hear the almost monotone effort this album seemed to have.
Slash English born, American raised guitar god Slash is back and doing exactly what he does best on this album. The writing is impeccable, the playing absolutely executed to perfection and the guest artists complete the unique sound. As a man I’ve followed career wise for most of my life (I was an avid Guns ‘N’ Roses fan at just 2; even saw them live) his new album astounds me with how well this man can write.
Having penned songs and parts to some amazing tunes over the years, to still come up with 14 fresh tracks that sound immense is simply astonishing. This self titled release features guest vocals from singers both old and new including Ozzy Osbourne, Iggy Pop and Lemmy to Chris Cornell, Kid Rock and M Shadows (Avenged Sevenfold). Not only do the guest spots pose vocalists, but one track features the guitar of fellow friend, bandmate and rocker Duff McKagen and drums by the ever amazing Dave Grohl. Surprise of the album is Fergie of Black Eyed Peas fame taking vocals on track “Beautiful Dangerous” as her husky voice works superbly with the riffing guitar. This album seriously shreds and should be a listen to anyone who loves classic rock, something a bit different and the avid guitarist. It’s a real eclectic mix of some quality written tunes and producer Eric Valentine (Lostprophets, Good Charlotte, Taking Back Sunday) captures what’s needed beautifully. Words: A. Sillitoe
How To Destroy Angels EP
employed in the dystopian creation of Year Zero with the sound of marching.
After twenty odd years as front man of Nine Inch Nails, Trent Reznor has taken a step away from the industrial behemoth to create a new project, How To Destroy Angels. Reznor’s new six-track EP is also the first time he has fully collaborated with other artists – Atticus Ross and Mariqueen Mandig (Reznor’s wife).
This release is certainly a new experimental direction made by Reznor, which with the freedom of an independent release and media interest has become widely accessed and downloaded for free. However, plans have been announced for a full length album by How To Destroy Angels and following tour (now on hold due to Mandig’s pregnancy) so we may see an improved form of what initially appears to be a promising new project. Words: Ed Townend
The full EP was released on the 1st June. ‘Parasite’ is a rough and noisy attacking track, with heavy bass and guitar work over a warped and unique drum beat before revealing a strangely effected vocal line that descends into a spitting whisper of the track’s title. ‘FurLined’ employs a disco beat in a similar vein to tracks ‘Only’ and ‘Discipline’ from Reznor’s back catalogue. Mandig’s voice is faded and effected to create a strange new angle. The track is certainly a looser and less experimental effort, although the lack of a strong vocal line and noisy guitar saves it from being defined as pop. The final new track (the other previously released on the internet) is BBB, an acronym of ‘Big Black Boots’ a rather sadomasochistic themed track incorporating both Mandig and Reznor’s voices chanting simultaneous orders accompanied by harsh buzzing samples and synths before dropping quietly into a repeated recitation of the title. The song builds to a familiar climax as
Brandon Boyd As the lead singer as well as percussionist and occasional guitarist for Incubus, Brandon Boyd has always offered strange but engaging songs in great collaborations with the rest of his band. But their last album was released five years and in the mean time, in between tours, Boyd has been sitting on new material. [cont]
He set about recording this material and soon found he had an album, so instead of shelving his ideas for possible use in future Incubus works, he created The Wild Trapeze. Acoustic guitars and various forms of percussion rule the album, with most of the instrumentation provided by Boyd himself. However it’s the production that really holds the back. The album is a glorified package of home recordings, with horrific song-ruining distortion throughout. The title track introduces the album with familiar melodies and incorporates the strange but glorious lyrics Boyd is known for (“Stand still like a hummingbird in flight” takes a moment to understand, but is beautifully poetic). The album really showcases the voice that won the hearts of thousands of fans around the world on songs like ‘A Night Without Cares’ and ‘Runaway Train’. The album is layered with experiences and personal feelings, but rarely reaches the deep cuts made by Incubus. It feels Boyd isn’t as pushed as he is with the band. Each song feels too familiar to the last, with only a few exceptions in songs like ‘All Ears Avow!’ which is hard hitting, clap driven and shout filled. As well as the dark and playful ‘Dance While The Devil Sleeps’. The instrumentation varies throughout, and often loses the battle of focus to the lyrics and voice. The main reason this album
falls short is the production. The distortion and fuzz on the acoustic led tracks ruin and destroy songs, and it’s a real shame. If Boyd had stuck to a quieter approach it would seem more like an acoustic Incubus record than an overlong demo tape. The highlight is irrevocably ‘Runaway Train’, with beautiful production and gorgeous singing - it may have just been a nice enough release on its own. Words: Ed Townend
BUTCH WALKER
Everyone that knows me well knows of my complete and total obsession with Butch Walker, so much so most of them are sick of me talking about him and his music and my wife said I probably should have married him and not her (he was busy that day!). I’m sure right now most of you are going “Who??” Well, I don’t have time right now to go through his whole history (wikipedia that shit!) but safe to say the guy is a musical legend and genius and all of you have probably danced to, sung
along to and rocked out to a song he either wrote, co-wrote or produced more then once, a quick list of the artists I’m talking about are The Academy Is.., Saosin, Pink, Fall Out Boy, All Time Low, Sevendust, Avril Lavigne, The Automatic, Dashboard Confessional, Weezer, Hey Monday and NeverShoutNever to name just a few. Unfortunately producing seems to be what he is best known for but he also releases some amazing solo albums and his latest ‘I Liked You Better When You Had No Heart’ is no exception. Each Butch Walker solo album is slightly different in style but the one constant are the songs, which never fail to be top notch and here we have instant classics like ‘Trash Day’ and ‘Pretty Melody’ both songs with great lyrics and memorable as hell. This album has some great slow songs, something Butch does especially well. ‘Be Good Until Then’ is pretty perfect, an amazing melody and a trademark clever-as-hell Butch Walker lyric. I could go on and on about each track but I wont, you’ll get as bored as my friends do, but I will say this is a great album if you like singer/songwriters and quality songs, which actually mean something and have some substance and style. Butch will be in the UK (Only his third time over here) this summer as opening act for Pink so if you are going get there early and check him out, in fact don’t wait till then get on myspace or youtube right now and do it! Words: Paul Esp
Singled Out Avenged Sevenfold The new Avenged Sevenfold track Nightmare is as ever pushing the boundaries. It start with a creepy kids wind up box type sound and frankly had my shaking in my boots (both a little creeped out and totally excited for what was to follow). This song totally mixes all the elements Avenged put together so well. It’s got beautiful piano arpeggio, a bit of an orchestra, gorgeous guitar slides and rocking riffs. The driving bass of Johnny Christ and a mix of double kicks along with the bell of the ride and my personal favourite, the piccolo toms. Sealing the musical madness together is vocalist M Shadows unique voice, complete with evil laugh. The drum parts for the track (and the rest of the album) were written by the band’s late drummer, The Rev. As ever it seems these parts will not fail to amaze and challenge drummers and musicians alike. The parts on ‘Nightmare’ feature both signature The Rev beats and styles, the frantic double bass with the ringing bell chime layered over. The drum fills that take part of the lightest and most latin of drums on the range of his kit. These were however played for
the album by Dream Theater’s Mike Portnoy and the man does not disappoint. As ever the guitar pushes the boundaries of guitar playing too. Dualing guitar from rhythm Zacky Vengeance and lead Synyster Gates bulk the song out immensely and the solo is everything a solo should be. Long enough to add that creepy element back into the mix, but not too long that it takes away from the whole musical spectacle. This is a promising track of what’s to come on Avenged Sevenfold’s 5th studio album also titled ‘Nightmare’ due for release 27th July 2010. Words: A. Sillitoe
The Federals What’s that I hear you say, who’s The Federals? Well, if the rest of their tunes are anything to go by from what I’ve heard of these two singles, then we’re looking at a band that should be erupting fast into your indie scene infested world soon. Fuzzy guitars, that 90s feel, catchy hooks, a warming vocal touch, track ‘Ain’t Got Nothing To Lose’ is something I’d expect a band such as Kasabian to parade out in front of an adoring arena, but here it is
coming from The Federals, who could simply be the new revival to Kasabian fans who need that energetic bite back. B-Side ‘Cut Loose’ follows suit in a more pulsing and moving manner, meaning you should dancing by the end of the track. Words: N.Ballantyne
blast from the past Refused The Shape of Punk to Come If you don’t know who Refused are, then you’ve not heard real music because any decent band out there cites Refused as one of their influences. Swedish rockers who set the bar amazingly high and didn’t let that bar drop at all. Sadly they broke up and left behind was this amazing album which has been re-released in deluxe form with an old DVD and some extras including an unreleased live album. The deluxe version contains all the original tracks from The Shape of Punk to Come whilst the live album captures the band at their best. The DVD is contains the bands only ever videos and is a documentary about the band. It’s eye opening and makes us at Soundscape Magazine wish Refused would reformed, if only for a Words: A. Sillitoe one off show.
t s i l y a l P d n a l s I Desert Chi of Spider Kitten Earth - Thrones And Dominions
I love this because it’s relaxing and if I was lying in the sun on my island I could just close my eyes and forget the inevitable aching loneliness that would no doubt set in after a few days. Also amazing guitar tone.
Pink Floyd - Dogs
This song is one of my favourite, both musically and lyrically. It’s loosely based on Orwell’s Animal Farm and so would satisfy a literary urge as well as a musical one. Plus it’s 17 minutes long so I’m getting my monies worth.
Words: N.Ballantyne Photo: Leigh Farrell
Leonard Cohen - Avalanche
This is one of the darkest and most haunting songs I’ve ever heard. I defy anyone to listen to it and not be moved in one way or another. The interplay between the guitar, the strings and Cohen’s voice makes the hairs on the back of my neck stand up.
Thrones - Obolus
It was hard to pick just one Thrones song as Joe Preston (the man behind the Thrones) is kind of an idol of mine. I decided on this one because it has all the elements I admire
about Thrones: Crushingly heavy guitar, insane drum machine, pitch shifted vocal and a majestic chord structure. I’d never get bored of listening to it.
Atomçk - New Gods
Atomçk are one of the best bands to come out of South Wales in years. This song is particularly good because of it’s awesome riffs and it’s first line: “THERE CAME A TIME FOR THE OLD GODS TO DIE!” I could also use it to signal any ships I spotted, though they’d just as likely be scared away.
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