Zero Core issue 9 by Croatoan Design

zero core music, design, photography_______________________________________summer 2014 __ free

TOM HICKOX MON 2 JUNE ROUNDHOUSE STUDIO WILD SMILES MON 2 JUNE SEBRIGHT ARMS SIVU WED 4 JUNE ROUNDHOUSE STUDIO JUANA MOLINA THURS 5 JUNE ROUNDHOUSE STUDIO ARCADE FIRE T OU FRI 6 & SAT LD 7 JUNE SO EARLS COURT

DEERS MON 9 JUNE SEBRIGHT ARMS LAW MON 9 JUNE SERVANT JAZZ QUARTERS GIRL BAND WED 11 JUNE SHACKLEWELL ARMS HOCKEYSMITH TUES 17 JUNE CORSICA STUDIOS CLOUD BOAT MON 23 JUNE ST PANCRAS OLD CHURCH

THE HICS TUES 24 JUNE XOYO

THE FAT WHITE FAMILY THURS 18 SEPT ELECTRIC BALLROOM

ST VINCENT SAT 25 OCT ROUNDHOUSE

THE ANTLERS FRI 24 OCT HACKNEY EMPIRE LAURA GROVES WED 30 JULY ST PANCRAS OLD CHURCH

JUNGLE THURS 30 OCT O2 SHEPHERD’S BUSH EMPIRE

PARQUET COURTS WED 25 JUNE ULU

DANIEL ROSSEN (GRIZZLY BEAR) TUES 26 AUG UNION CHAPEL CATE LE BON THURS 11 SEPT KOKO

PARALLELLINESPROMOTIONS.COM

TRANSGRESSIVE IS 10 Visit our new website for news on our parties, along with all of the latest releases from Transgressive Records, Management and Publishing...

THUMPERS GALORE May 19th PUBLISHING

FIST CITY IT’S 1983, GROW UP! May 19th

THE ANTLERS FAMILIARS June 16th RECORDS

RECORDS

LIU BEI INFATUATION July 7th

FAMY AVA EP July 21st

ALVVAYS ALVVAYS July 21st

paradYse

RECORDS

DRY THE RIVER ALARMS IN THE HEART August 25th

PULLED APART BY HORSES BLOOD September 2nd

RECORDS & PUBLISHING

PUBLISHING

w w w.transgressive.co.uk

Hello Welcome to the new issue of Zero Core. How are Bright you enjoying Light Bright the weather? Light A little 06 sweaty at times? Kraffhics Don’t worry, it happens to the 10 best of us. Festival Article is season underway, and with it XXcomes a stream Article of your favourite bands playingXX your favourite songs, Article so we thought it only fitting to XX put one of our faves Article on the cover of this issue. XX Article XX We’ve seen Slow Club so many times over the years that we couldn’t be happier they’re back with a smash of an album to get us jumping about this summer. Oh, and they look pretty sexy too, eh? If you’re a first time reader, then hi! Nice to meet you. In these pages you’ll find words on all the stuff that makes music great. From the art and design to the bands themselves. You might even find a couple of new bands that you’ll fall in love with and scream along to at next summer’s festival frolics. We can only hope.

Made by Jen Long, Adam Chard, Marc Thomas, Chris Chadwick and George O'Brien. Contributors in order of appearance Jenn Five, Aurora Mitchell, Sara Amroussi-Gilissen, Owen Richards, James Williams, Nat Davies, Andrew Backhouse, India Whiley-Morton, Matt Ayres, Adam Burbidge, John Platt, Melanie Battolla, James Rushton, John Bell, Lee Wakefield, Mike Massaro, Gen Williams, Dan Tyte, Anika Mottershaw Thank you Michael, Stephen, Minna and Rachel at Moshi, Jon Dunn, Justine Dick, Tim, Lilas, Toby, Rachel and Mike at Transgressive, Rajina Gurung, Lisa Ward, Cath Hurley, Jo Morris, Joe Parry, Caroline Beashel, Mike, Connie and Korda at Infectious, Ali Tant, Dan Monsell, Charlie Hearn, Ruth Drake, Annabel Crowhurst, Beth Drake, Nathan Beazer, Jason Williamson, Rich Thane, Louise Mason, Chris Fraser, Alex Cull, Michelle Kambasha, Will Grant, and Nathan Warren

If you want to get in touch with us, tell us a secret, or even contribute to these pages then please do. We love hearing from new people. Right, we’re off to sniff the freshly cut grass, not that these pages don’t have a certain smelly charm. Go on, have a whiff.

This issue of Zero Core was created in Cardiff and London.

Until next time, and don’t forget the sun tan lotion.

Issue ten due October 2014

Lots of Love,

Email us: hello@zerocore.co.uk Advertise with us: advertising@zerocore.co.uk zerocore.co.uk

The Editors x

IN ISSUE

New Bands 1. Southern 1.

There is something immediately likeable about brother-sister duos: voices share a succinct relationship; appearance-wise it's a ready made match and there's something subliminally endearing about seeing family members working so closely together. Whatever the reason, it works for Southern.

The lead title track sums up what they're all about: crunchy, overdriven acoustic guitar provides the ballsy, bluesy punch, allowing the duo a platform to harmonise above. It's a refreshing, winning formula that sets them apart from many of their young singersongwriting peers.

Belfast siblings Thom and Lucy Southern – hence the name – have been honing their craft for the best part of two years now, grabbing attention with an intimate London showcase at the back end of 2012, and with the Marathon Artist release of their Where The Wild Are EP it feels like they've totally found their young feet.

Elsewhere they showcase a more graceful approach: like much of their work, ‘Oh Won't You Go’ brings to mind Angus And Julia Stone, as Lucy whispers through the subtly dark number. Southern share the simple, satisfying songwriting knack as the underrated Aussie duo but their blues persuasion adds a certain depth and has the power to get a diverse listenership on board.

It’s an influence that appears to be somewhat ignored but both on record and in a live setting – Southern impressed at a packedout Great Escape set in May – it offers a gutsy alternative to much of the new music appearing out of the UK. ‘Just Think About It’ remains a stand-out track with its quintessential rockabilly hue; the early outing shows-off the pair’s soulful vocal marriage as well as Thom’s intricate playing ability. “I love you, yes I do / You hate me, yes I know,” rings out in the brilliant, foot-stomping refrain; Southern are certainly giving us something to think about. facebook.com/thisissouthern

2. Låpsley Seventeen-year-old Holly ‘Låpsley’ Fletcher set our hearts aquiver late last year with her Blue Monday EP, a selection of glorious ambient-electro tracks underpinning captivating vocal acrobatics. Sitting somewhere between the delicate minimalism of James Blake and the pop-hooks and vocal samples of XXYYXX, the EP marked a young talent, emerging fully-formed from a bedroom on Merseyside. Holly has since been picked up by September Management, responsible for, Adele, Jack Penate and Jamie T amongst others, an impressive list of colleagues which only confirms what we've long suspected, that this young producer/singersongwriter has potential by the bucketload.

3. Sophie Jamieson The two tracks to surface so far this year, the mesmerising ‘Station’ and the equally hypnotic ‘Painter (Valentine)’, are both stripped back to the bare bones, swirling Rhodes and simple beats allowing Fletcher's vocal loops, pitch shifted melodies and intoxicating lead lines to shine without any distraction. It's unsurprising therefore that the two tracks have amassed in excess of half a million hits online so far this year and earned Låpsley the ‘One To Watch’ award at this years GIT Awards in Liverpool. We certainly think Låpsley is worth keeping a beady eye on in the months ahead. soundcloud.com/hollylapsleyfletcher

There’s something deceptive about Sophie Jamieson. Skinny and silent, her face hidden behind brown hair, she takes stage unassumingly, acoustic guitar held high on her chest like a sturdy shield. Her band lowers their heads and sinks into the backdrop. And then they begin to play and like a bullet to your heart they freeze your pulse and steal your breath. It’s hard to know where to look, with musicians completely encapsulated in their own accomplished playing. The bassist swathes a waxed bow across his fret board, the guitarist vibrates his strings with a glowing light, and the drummer flourishes his cymbals as Sophie brings it all together with a devastating voice.

From London via Berkshire, the quartet released double a-side single Stain/Other last month on Luv Luv Luv Records. Originally playing as a solo artist, Sophie has spent the past two years spreading her melancholic folk across stages from Roundhouse Rising to The Great Escape and winning fans in abundance. With dynamic songs that build and break and lyrics that sting with a bare and brutal honesty, it’s only a matter of time until her subtle charisma floods the veins of many. Do not underestimate Sophie Jamieson. It’s always the quiet ones. sophiejamieson.co.uk

Lucius

Words: Aurora Mitchell Photo: Sara Amroussi-Gilissen tigerinmytank.net ilovelucius.com

The walls of the dressing room in East London venue Oslo Oslo are shimmering with the reflective light of the co-ordinated, rainbow-sequined outfits of the two girls of New York’s Lucius, Jess and Holly. Their bright demeanour contrasts NYC which Holly describes as “depressing, anxiety-ridden and energetic” but they’re big fans of juxtaposing dark and light in their music. The name actually means light in Latin but that’s not what inspired the moniker. “It was my dog’s name!” beams Jess, “He was really funny, silly and goofy but also smart. We like the juxtaposition between silly and clever. We also thought it had a sound to it that was timeless.”

At some point you don’t have a choice anymore. If you do… don’t do music Whilst they’d never live anywhere else, it was a struggle at first to adjust moving to New York from Berklee, where they went to Berklee Music School. “We went in headfirst and got there like panic! This is literally unstoppable and we’ve just been thrown into the lion’s den.” explains Jess. It was never a question that they wanted to pursue creativity, the only question was in what form? “I don’t think I knew I wanted to be a musician ‘til I was in junior high. I thought I was going to be a country vet for a while, then a detective – music was always a big deal to me but I didn’t know ‘I’m going to do this’ ‘til a certain point” muses Holly. “At some point you don’t have a choice anymore. If you do… don’t do music. You have to be willing every single day to find joy in even the most still, difficult and unsettling moments,” adds Jess.

This is definitely what Lucius consider in their songwriting, wanting to express “the juxtaposition of happy and sad, fear and growth and change mixed with feeling stuck,” as Jess puts it. “People are like, ‘Your music is really vibrant and happy’ but you listen to the lyrics and they’re all depressing and anxiety-ridden,” Holly states, likening it to their home town. “It’s funny when you think about it like that.” Lucius have been together since 2008 – finding band members, their sound and more importantly, themselves. In 2013, their debut album Wildewoman finally came to fruition and they’re glad they waited – having watched friends fall by the wayside after welcoming the music industry too fast. They’ve come a long way, playing to a sold out crowd in Hackney tonight which they couldn’t be more appreciative of. The infectious energy they bring to conversation translates to their performance, the two girls perfectly in sync both in physical stance and vocals, acting as an aural mirror. They replicate the effect of a choir, not being able to differentiate whose voice is who’s. “To have people come and see you, even if it’s just a few people in a city you’ve never been to before and you’re surprised 70 people showed up. That’s a big deal. That’s a connection. Someone came to see you express yourself, that’s such an honour,” Jess ruminates on being on tour, “You have to be willing wholeheartedly to honour that.”

Annie Eve

Words: James Williams Photo: Owen Richards owenrichards.co.uk annieeve.tumblr.com

Heading out to meet up with Annie Eve at a lively bar in her home of North London, my ears enveloped in the melancholic beauty flowing from her forthcoming debut album, Sunday ’91, it really hit home the chance I had to better understand what drives this young folk musician, whose inner-most reflections are evoked so powerfully, yet so poetically, in her music. For anyone well acquainted with Annie’s EP releases – her self-titled EP from 2012 and this year’s enchanting Feversome – it is hard not to be curious about what has moved this gifted 22 year old to pen such evocative lines as this one, taken from ‘Elvis’: “Upon this hill, I’m high enough, to breathe the air, before it’s touched, by someone else.”

I love poetry and listen for it in lyrics; my mind is instinctively drawn to them Annie’s songs are rich with poignant imagery and, when combined with her heartfelt delivery, sung over soft and intricately arranged acoustics, the overall experience feels profoundly intimate. “I like to think that these impressions in me, that flow out when I’m writing, are real,” Annie explains. “They feel real to me, they’re a part of me, and they come out for a reason, even if I don’t plan them.” It is no surprise to learn that poetry plays a meaningful role in how she expresses herself musically: “For me, poetry and lyrics go together,” she says. “Sometimes I’ll write poetry and it’ll become a song. I love poetry and listen for it in lyrics; my mind is instinctively drawn to them.”

It all began for Annie at home, in her early teens, when her brother bought a guitar: “I roped him into teaching me, so we used to jam and scat a lot,” she remembers. “Pretty much as soon as I started playing, I started writing.” During this time Annie was drawing inspiration from such distinguished and eloquent songwriters as Bob Dylan and Joni Mitchell, and it’s easy to see how their open and uncomplicated approach to song-writing has helped shape her own passion for the task. “They would write these raw, super simple songs, but it’s about what they were saying,” she enthuses. “When I’m listening to music, if I feel the lyrics are not honest, it ruins a song for me.” Annie has cultivated this ideal of honest, unpretentious songwriting into her own music and the end result is a genuine and deeply personal set of minimalist folk songs, whose raw emotional power hook you in even before you uncover the lyrical gems inside. “When I started out I was really shy,” she remembers with a smile. “I would mumble the words because that’s how I learnt to handle being that vulnerable. Sometimes I sing and my voice sinks into the movement of the music, and it’s easy to forget articulation is important.” Never one to rest on her laurels, Annie has developed her lyrical articulation and it is notable that her words shine through far clearer on her forthcoming album, while still delivering the same emotional clout that makes her music so compelling. With Sunday ’91, out in August, and a headline gig at The Lexington before that in July, the year holds immense promise for this modest young musician. 11

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N I C K M U LV E Y FIRST MIND THE DEBUT ALBUM OUT NOW “Mulvey is very much his own man on this highly intriguing debut” Q “Irresistible. One of the great albums of 2014.” Clash

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Slow Club

Words: Nat Davies Photos: Jenn Five jennfive.com slowclubband.com

Slow Club’s Becky Taylor and Charles Watson – all personable Northern charm and excellent hair – are on stage at London’s Village Undergound to introduce their new album Complete Surrender to a large and loyal audience. Featuring two new members, Avvon Chambers on drums and Rob Jones on bass, the songs are fast-paced and glorious, driving drums, soaring harmonies and over it all Charles’ sparkling electric guitar. If fans of the band’s early sweet folk duets felt their second record Paradise was a leap into the unknown then they are going to need a diving bell for their latest offering, which borrows elements of 1970s disco, country and western-style heartbreak ballads and R&B. “The whole idea for this record is that it was going to be a step forward and a bit more classic sounding and simple,” says Charles, as we share a beer in a Soho basement studio. “Also, it’s about becoming a better player, knowing what you’re good at and taking that to its best possible conclusion. Like on our second record I got really into using pedals and maybe lost sight of other things. I feel like this one's a little bit simpler with more emphasis on ‘GROOVE.’” Charles spotted the album title in a Bertram Russell book, “he was talking about the nature of the human psyche and he said ‘a complete surrender’ and I thought ‘oh hello! Thank you!’ – it just felt like two really bold, powerful words together.” While these songs are out to make you dance, the latest album also features some of their rawest songwriting – swooping from emotional highs to lows, fast-fast then slow like driving an alpine road. There are more solo tracks than on any of their previous records, with Becky singing alone on four out of 11 tracks.

“There are a few songs we did from scratch together, but fewer than ever,” explains Becky. “I think we were struggling to write songs and then we both just let each other go a bit. There was less ‘But where am I on this and where am I on that?’ kinda thing. It’s hard for Charles to sing about my horrible times and it’s hard for me to get into his head but there are still fundamental things that we agree on and have both experienced.”

There are still fundamental things that we agree on and have both experienced “I used to write songs that I really wanted Charles to like, and in all my songs I used to write ‘we’ which was fine in the first album. We were just kids! Like our hearts were broken and we were both yelping about the same thing but now we’ve really gone our separate ways in our lives and our tastes so there’s less that we can both sing about.” “I think I only realised it after we finished the last album that this tension is really who we are as a band,” adds Charles. “It might not be the easiest thing to do and sometimes it’s really uncomfortable because we both want totally opposite things but we pull it together somewhere in the middle.” And on Complete Surrender, that tense middle ground has produced a set of superb pop songs. ‘Suffering You, Suffering Me’ pulses with the raw emotional sincerity and upbeat tempo of a Chicago Soul hit. ‘The Queen’s Nose’ carries classic brass ultimatums and the hand-snapping melodrama of a Whitney Houston power ballad.

We’re in the disarming world of real heartbreak; betrayal, loss, rejection, jealousy. It’s a break-up album but according to Becky recording it was relatively painless, “I slept a lot. I was drunk all the time, hungover every day and then I’d wake up and sing about my feelings and then get drunk again,” she says. “It really was wonderful. I think you can hear it on the record. But we needed an easy one, it needed to be pleasant or I don’t think we’d have got through it.” Slow Club worked with producer Colin Eliot in his Yellow Arch Studios in Sheffield, a man whose incredible skills landed him collaborative projects with Jarvis Cocker, Paul Weller and Richard Hawley. The idea was to keep it simple and beautiful with clean instrumentation and exceptional musicianship. “He really loves really well-played instruments and capturing something – that’s what he’s really good at,” says Becky. “Also his knowledge of pop music through the ages is amazing. We wanted classic youcan’t-argue-with-it pop music done in the right way. I love direct music where you can make your point quickly because I’m really impatient.”

We wanted classic you - can’t - argue - with - it pop music done in the right way After the success of Paradise the band spent a summer in 2012 supporting one of the biggest bands in the world, trying to adapt their intimate live style to hold the attention of huge stadiums.

“The Mumford tour was like 10,000 people every night and no one gave a shit who we were at all. Were getting nowhere for 60% of the set but then people would respond to the stuff that’s a bit quicker,” says Becky. “Yeah there’s almost a bit of a science to making people move,” agrees Charles. “My background is not drums but I tried to spend time on this record, like, listening to drums, working with drum machines and trying to understand what it is that makes a song move live.” “We’ve yet to find out really. No one is gonna dance!” laughs Becky. “It’s four to the floor!” says Charles. “I know most drummers don’t like doing it but…” “No, you’ve just had years of me going ‘NO I WON’T DO THAT!’” argues Becky. “Most drummers don’t mind!” A week later and all their groove theories are put into practice. People ARE dancing. The gig sits somewhere on the scale between the Chuckle Brothers and the Walker Brothers: warm harmonies so lush and close you can’t tell whose voice is whose, breaking the notes to crack jokes and bait each other for laughs – your own belly laughs, too, because they are so funny and self-deprecating. Then in a second you forget why you were laughing because the hair is standing up on the back of your neck and your eyes are prickling. So this is the new Slow Club: still funny, still sweet but also sexy and powerful and liberated. 15

Jenn

Five

Words: Chris Chadwick jennfive.com

There can be few people with as much enthusiasm and energy for their careers as Jenn Five. From the moment I walk into the photographers East London flat, I'm struck by her undeniable charisma and charm, as she pours us both drinks (something strong) and animatedly tells me about her recent shoot with Carl Barât, “I knew what I wanted from his face and I knew I would get it, I just had to make him laugh.” Having moved to London from Calgary, Jenn is now a regular with NME as well as working with individual artists, record labels and other music publications. A smile spreads across her face as she admits “it's sort of everything I've ever wanted.”

I don't ever want to lose that... I do not get tired of going to gigs

(Main image) Deerhunter (Opposite) 1. The Horrors 2. Courtney Barnett 3. Only Real 4. Telegram

When we meet it's in the aftermath of The Great Escape festival at which she shot over 25 shows in three days, partied with Klaxons and then came back to London, sleep-deprived and bruised, to edit her entire festival collection in one 12 hour stint. “When you work on a fast-paced magazine, it's daily turnover,” she explains, “I just get thrown into it.” What's inspiring about Jenn Five is her blatant infatuation, near obsession, with music. Whilst for some photojournalists, a love of their art-form outweighs their admiration for their subjects, for Jenn it's always been about the music. “I don't ever want to lose that...being a music fan” she tells me, “I do not get tired of going to gigs.”

This unbridled passion comes across in her photography, often taken from inside the melee of a screaming crowd. “I really like shows that don't have pits because it makes me see things the way that a fan would” she says, concluding, “I used to be that fan.” Whilst her live shots capture the pure energy of a performance, away from the raucous crowds Jenn has a knack for putting her subjects at ease and capturing something genuine. “I usually like a bit more emotion in my photos” she tells me, “when I first shot Klaxons I teased them and even today they love those shots because I got them laughing.” A week after our interview I bump in Jenn in a dark, sweaty, Shoreditch venue. She's not there to take photos, just to enjoy the music as a fan. Tonight is her night off she says, but tomorrow she travels to Glasgow to photograph Prince. “He employed me shooting his shows earlier this year on the Hit & Run Tour so I'm going to shoot him again!” she beams. To have gained the trust of one of rock's most notorious perfectionists is a credit to Jenn's undeniable talent. Enthusiasm and charm are, of course, positive traits but Jenn Five hasn't developed a career based upon her social skills alone. With past marks including Karen O, Sky Ferreira and Julian Casablancas, her talent is capturing images as visually striking as the artists themselves.

19 19

Nick Steinhardt

Words: Marc Thomas nicksteinhardt.tumblr.com

One of the best things about creatives is that they start so early. Kids who grew up wanting to be firemen, accountants or soulless politicians had to wait until they reached the appropriate age. But then, there are people like Nick Steinhardt who just get started as soon they feel like they want to. “It definitely started with an encouraging family. I began art classes and guitar lessons around age 5–6. Painting, drawing, animation, sculpture and some 3D between then and around age 12 when I started my first band. The art classes lead to being an assistant art instructor as my first job at 15,” he says. “Music lead me to play in my own band and by default design for us and friends bands.” Before too long, Steinhardt started playing music with some friends and Touché Amoré were born. That was in 2007. Now, three studio albums and nine EPs later, and Nick’s talent is growing. Musically and creatively.

I like the challenge of creating more of a ‘full’ and physical experience “I decided to go to design school, graduating with a BFA in Graphic Design from CalArts in 2009,” he explains. It’s obvious that his is not a craft born overnight and although he studied his trade, it’s not the most important part of his education. It’s the many years of practice and the experience of working with a pretty formidable number of high profile artists at his day job. He joined Smog Design, a studio in LA, in 2007 as an intern. Eventually, that internship led to full time employment.

Smog is well known for work for clients like Katy Perry, ELO, Garbage and P!NK, which, given the sound Touché Amoré puts out, is a pretty huge contrast. “This kind of goes back to the fine artist/designer debate,” he says when asked how he maintains a balance between his own style and client’s expectations. “Artists have their own themes and messages they’re trying to communicate through their work. In most circumstances even a very conservative commercial client has a small window to showcase creativity.” And what is that creativity for Steinhardt? Well, his work is clean and considered with a really evident emphasis on type. Just take a look at his work on Britney Spear’s Femme Fatale or Deafheaven’s Sunbather. “Probably little to none of that type is hand drawn as the end result,” he says. “I do a lot of preliminary sketching but my hand work rarely makes it into anything final unless it calls for a little more of a raw or human touch.” It matters little. His work is dazzling in its simplicity. He needs only a small window to make wonderful things happen with type and the printed medium is an old friend for Nick: “In a world where music is primarily consumed digitally I like the challenge of creating more of a ‘full’ and physical experience through interesting packaging formats. I love to work with bands willing to have an open minded discussion and participate in the design process.”

(Main image) Touché Amoré, Parting the Sea Between Brightness and Me

(this page) 1. 108 Rock Star Guitars 2. and 3. Deafheaven, Sunbather 4. Britney Spears, Femme Fatale 5. Touché Amoré / The Casket Lottery, split 7”

Thumpers

Words: Andrew Backhouse Photo: India Whiley-Morton indiawhileymorton.com thumpers.co

January – the Monday morning of months. No Christmas, no festivals – just exams and dampening diets. It’s Friday night, and Newcastle’s a city swamped in snowy sludge. Even the crowds of scantily dressed Geordie club goers might feel the chill. Only one thing could prize us from our hot water bottles, and that’s Thumpers. Taking lodging in The Cluny’s booming basement, it’s clear from the band’s soundcheck that this, the band’s first UK tour, is no trial and error road test. Tonight’s show is heaving from the off, and when they throw the rainbow grenade blog hit ‘Sound of Screams’, it’s no secret why. It was enough to break the ice; everything that followed was the victory lap.

We wanna move people. It’s so unfashionable to do that now Meeting amiable childhood friends Marcus Pepperell and Jack Hamson Jr., they enthuse about their future plans, and mention, casually, “the album is done.” Having encountered the hype machine through previous bands, this time, they hold the cards. “When you start playing live and you’re half decent,” Jack explains, “everyone jumps on you, and then if you don’t release an album for another 18 months, you’re done.” With music like this, Thumpers are a ticking time bomb, and it’s only a matter of time before everyone falls for them. But it’s not all been plain-sailing for Thumpers. Eighteen months later, and Jack is on the phone. “Today I feel really excited,” drifts Jack. He pauses. “And quite a lot of anxiety.”

Because this is the eve of the release of Thumpers’ first album. “Playing in a band, where people know twelve of your songs, is really going to change the live show. And you want people to hear your band!” But they don’t need to worry. Industry complications may have knocked back its UK release, but restassured – nothing could extinguish the fevered hysteria surrounding Galore. “It was a joyful process. It wasn’t fraught. It wasn’t like we demoed albums, showed it to people and went ‘is this good enough?’. We just made a record.” And we can clarify it’s a bit of a monster. Not a drop of their incendiary live show is lost in its move to the record. As Jack discloses, it’s all down to a deceivingly modest mission statement, “Whether it’s a record or a gig, we wanna move people. It’s so unfashionable to do that now – in a lot of indie music, anyway. We’re not doing the same as everyone else. But then in pop music – like with Daft Punk and Pharrell Williams – that’s so unashamedly up, and that’s where we fit in.” This summer may see Thumpers basking in the blazing limelight they’ve deservedly bagged, but Jack’s ambitions remain humble. “The main thing for us is to keep doing what we’re doing. We’re not big list makers, because I kind of think, if you’re that kind of person, you’re never going to be happy or satisfied with what is happening to you at this moment.” With stops at a run of festivals this summer, we suspect there’ll be a lot more happy moments to share with Thumpers. 25

Kutosis

Words: Matt Ayres Photo: Adam Chard croatoandesign.co.uk kutosis.co.uk

Take any music scene, and you will usually find a few bands that seem inseparable from the handful of venues and local crowds that define it. Historically, Kutosis have been one of those bands in relation to their home circuit of South Wales, more from a sense of loyalty and shared influence than a lack of potential. “There have always been great bands and artists coming out of Wales,” explains James Deacon, who hops between bass, guitar and vocals in Kutosis. “Mclusky and Super Furry Animals were a big inspiration to start a band growing up. Venues like Le Pub, Clwb Ifor Bach and TJ’s were really important and seemed to provide almost a weekly supply of bands you'd heard the previous week on Steve Lamacq or Adam Walton’s radio shows.”

It’s always nice to be a part of something new and exciting The three-piece, completed by vocalist/guitarist Ian Jones and drummer Ben Isaacs, are best known for the spiky, post-punk sound previously showcased on their Welsh Music Prize-nominated album Fanatical Love, as well as for countless raucous appearances at Cardiff venues like Clwb Ifor Bach and Undertone. But with the follow-up to their 2011 debut arriving in July, the band has taken a step beyond its familiar surroundings by taking a melodic course that few fans would have expected. “We had to make a decision which direction to take,” says James. “We also wanted to stretch ourselves as songwriters and it would have been too easy, and a little boring for us, to write another 10 songs that sounded like the first record.”

A combination of the trio’s rigorous rehearsal ethic and collaboration with producer Rory Attwell from London studio Lightship95 ultimately led to the bold and cohesive sound showcased on leading singles ‘Crystal Beach’ and ‘Fear of Flying’. James also admits that there was an element of experimentation and adventure in recording the album, partly down to the studio’s unusual set-up: it’s a boat. “Because it's moored, it's susceptible to the effects of the tide. On the first day of recording this hadn't really occurred to us, so during the day there were guitar cases ‘magically’ standing up, and Ben had to do his best to drum while the studio was swaying around.” With such sonic potential, the band is looking to break beyond the Welsh border with album number two. The new material will be accompanied by a UKwide tour, as well as shows in Paris and promotion in the US. It doesn’t mean they’ll start neglecting their roots though; in fact, Dream It Away happens to be the first full-length release from a new Cardiff record label run by their friend Connor Cupples, who’s expanding his promotion company Jealous Lovers Club into a fully-functioning indie imprint. “When Connor said that he was thinking about setting up a label and wanted us to be the first release, naturally we said yes. It’s always nice to be a part of something new and exciting.” Speaking of new and exciting, James promises a pretty special experience for the album launch gigs in Cardiff and London. “We want to create a beach indoors!” he grins. Beach or no beach, expect Kutosis to make some serious waves this summer. 27

Reviews 1. Sharon Van Etten Are We There? Jagjaguar 26 May 1.

There is a reason we like melancholy music: it’s good for the soul to exercise the responsive nature of the emotional facility. You cannot be upbeat all the time, it’s just not cricket. It’s easy to enjoy something buoyant and positive whereas it requires consideration and emotional investment to benefit from something heartfelt. You can practice with Sharon Van Etten’s new album Are We There. Up until now her muted fame has been slowly finding its voice due to collaborations (Aaron Dessner, Zach Condon and Jenn Wasner all appeared on 2012’s Tramp), the successes of which led to insecurities about her own ability. This meant, contrary to her previous three albums, the entire recording process would be in Van Etten’s hands, as well as virtually all of the writing credits.

She has yielded a truly stunning record charting the highs (few) and lows (many) of a loving but complex relationship told through visceral lyrics and elegant arrangements. ‘Afraid Of Nothing’ is up first and is so graceful and soothing; Van Etten’s lyrics simply float along supported by her own harmonies and delicate strings, an instantly likeable song. The same goes for ‘Our Love’ and to some extent ‘Break Me’, although with a more dreamy and ethereal quality; I feel like I’m halfway between a Bryan Ferry song and a magic carpet ride. The same is not to be said of ‘Your Love Is Killing Me,’ the most forceful spell on the record. Van Etten aches through and echoes the pain that loving a person brings.

To match a subject so sensitive with percussion so fervent, and builds with such potency is something I haven’t heard done so well since The Smashing Pumpkins' ‘Stand Inside Your Love.’ Van Etten calls it ‘The Beast.’ It reaches out, grabs you and makes you pay attention – a record highlight. The elegance throughout is no more evident than in ‘I Love You But I’m Lost’ and ‘Every Time The Sun Comes Up,’ both stripped down and simple in arrangement and the more beautiful for it. The latter concludes the album perfectly with what seems like a chorus of Sharon Van Etten serenading us and bidding us goodnight. Words: Adam Burbidge sharonvanetten.com

3. DZ Deathrays Black Rat Infectious Music 18 August

2. Woman's Hour Conversations Secretly Canadian 17th July Jarre-ian strains of sparkling synths usher in the debut album from London-via-Kendal four piece Woman's Hour, which lifts you gently by the heartstrings and deposits you somewhere beautiful. The three years in seclusion since their 2011 EP have been spent carefully distilling, and the result is a sound picked out in the same slow-motion monochrome as their videos. Luscious, sustained synth backs floating guitar lines and a frequently punchy beat, but the overriding theme remains one of space. A distinctive groove punctures this minimalism and brings relief, notably on ‘In Stillness We Remain’ and ‘Conversations,’ whilst the brooding synth which introduces ‘Reflections’ eases into its Balearic chorus as lyrics float past, speaking of a reconciliation between their diverse influences.

This is indicative of a comfort and warmth underpinning the album despite the bare soundscape, and much of this soul is in Fiona Jane’s vocals. They have an intimate, earnest simplicity to them, with the air of a much rewritten love letter; no more so than on standout ‘Our Love has no Rhythm.’

DZ Deathrays return after a relative state of quietness with their second album Black Rat, and simply put it is monumental. The duo, comprised of Shane Parsons (vocals/guitars) and Simon Ridley (drums), make their comeback on the shoulders of a giant Kaiju and utterly obliterate their previous guise.

The yelped, accessible lyrics have not departed, although the thrashing is less noticeable and more space is given to heavier, grandiose compositions, yet maintaining their short and sweet formula. The high-pitched ‘Reflective Skull’ is exemplary, with an exotic riff and lascivious tempo.

Throughout, the band display this total, heartfelt commitment and a vulnerability which is entirely free from irony and cynicism: it’s what makes the album tick, and what makes it an emotional as well as musical flight. A flight that touches down as it began; staccato synth provides a sense of closure and a bookended feel tells you that with Conversations, Woman’s Hour aimed for perfection. And they didn’t fall far from the mark.

In fact, the ARIA Award-winning Bloodstreams, DZ’s debut, is now by comparison a more subtle, minute work. That was an album of piercing and shrieking ventures, in which the focus was on electronic-sounding hybrids and shredding-inclined ditties, sounding almost Sci-Fi-esque. Black Rat is instead a Noughties alt-rock monster movie.

There is even space for more reflective material, with ‘Northern Lights’ taking centre stage with its contained loudness and grand statements, which perfectly counter the glitchy frolic that is ‘Fixations’, Rapture-like in nature. DZ have evolved in the last couple of years; a duo that on its own strengths has become more orchestral in its up-scaled compositions, but no less raucous.

Words: John Platt womanshour.co.uk

Without introductions, the album dives head first into the eponymous, dusky, opening track, exposing the listener to their new loud, anthemic persona.

Words: Melanie Battolla dzdeathrays.com

4. First Aid Kit Stay Gold Columbia 9 June Following the universally positive response to 2012’s The Lion's Roar, the Swedish Söderberg sisters have secured their position in the mainstream and on the dinner party playlists of the middle classes; even David Cameron sneaks into their shows. This commercial success however has not pushed them into reinventing their sound and a cynic might speculate that the album's title is a nod to their intention to stick with the same formula that saw them shift so many units last time round. However, this would not give Stay Gold the credit it deserves. As before, there is a balance struck between positivity and anxiety, hope and despair, light and dark yet time after time the bleaker emotion dominates and this gives the songs real depth and a resonating quality.

5. The Pains Of Being Pure at Heart Days of Abandon Fierce Panda 2 June The real marked progression of this album is the open and honest lyrics of lost love and existential anxiety that hint at darkness throughout. Standout moments have to include ‘Cedar Lane’ featuring the Omaha Symphony Orchestra adding a further dimension; a perfect companion to wistful and remorseful laments. The theme of escape is almost ubiquitous on the album; in particular on other highlights ‘Shattered & Hollow’ and ‘Waitress Song.’ Full of imagery about journeys and struggle, this album maybe sees the sisters feeling disillusioned about what they now want. Lucky for us these musings have infused an excellent, reflective and instantly accessible record. Words: James Rushton thisisfirstaidkit.com

My first experience of The Pains Of Being Pure At Heart was back in the golden days of MySpace (circa 2007) where, I’d find myself trawling endlessly through my favourite bands’ top friends, and their top friends, and – you can see where this is going. But those were the days when, as founding member Alex Naidus has pointed out, a MySpace and a name were all the band had. Now after two critically acclaimed full lengths, Pains return with summer soundtrack Days of Abandon. In stark contrast to the huge opening title-track of 2011’s Belong, Pains’ third album begins with the ever so gentle ‘Art Smock.’

Indeed, the fuzzy guitar tones have been replaced with a clean chorus effect, making their retropop sound all the more retro; tracks such as ‘Simple And Sure’ and ‘Life After Life’ could be played at a throwback club night and only the most discerning ear would notice. Perhaps Pains brainchild Kip Berman was reading Morrisey’s autobiography when writing the album, as there is something more Smiths-like in this record than before. This shouldn’t discredit the album though as it's a pop record with gusto and glory; one only has to listen to the irresistible ‘Beautiful You’ and the anthemic ‘Until the Sun Explodes’ for it to become an instant keeper. Words: John Bell thepainsofbeingpureatheart.com

Live Owen Pallett Oval Space, London, 21 May Oval Space has taken on something of a mystical allure before Owen Pallett even steps on stage: swathes of dry ice and the shimmering seduction of Sean Nicholas Savage’s stoic support slot proving hypnotic enough to keep a hungry audience’s expectancy bubbling with steady urgency. When he does eventually make his bow, with very little fanfare, the reception is, of course, feverish. It is difficult to recall a figure that basks in such critical acclaim – particularly for 2010’s stunning Heartland and his recent contribution to Her’s arresting film score – yet remains fiercely resistant to mainstream recognition. The Canadian composer is currently on the cusp of another tantalising release, In Conflict, surprisingly only his second studio album. Not that tonight’s onlookers seem to care, each brief pause greeted with jubilant applause and avid catcalling, every scrap of new material affectionately embraced, surely sensing that we are in the company of an expert storyteller, and an alarmingly assured performer.

Flanked by a freewheeling drummer and bassist, the musicianship on offer tonight is nothing short of jaw dropping. When galloping through the sprightly, staccato time signatures of ‘Midnight Directives’, or relishing the slow burn of ‘Keep The Dog Quiet’, much of tonight’s set list pulsates with the bitter heartbreak, all the fractured tragedy of an opera, Pallett offering a remarkable croon that is as charming, as it is flawless. It is the instrumental grooves, however, that appear to set our hearts a’fluttering; Pallett masterfully coaxing the most monstrous, vibrant melodies from his strings and weaving them amongst loop after frantic loop, a sticky tangle of earnest, spiraling soundscape. Whether In Conflict shoots him to deserved, wider success remains to be seen. As I trudge through the drizzle swallowing shabby Bethnal Green, one thing is certain: Owen Pallett has sent me soaring for the heavens. Words: Lee Wakefield Photo: Mike Massaro mikemassaro.co.uk owenpalletteternal.com

31 31

LABEL PROFILE: 3.

Words: Gen Williams infectiousmusicuk.com

Originally set up in 1993, independent record label, Infectious Music made a fresh start when it re-launched in January 2009. Consistently releasing exceptional campaigns with a roster of incredible artists on board, this year Infectious celebrated its fifth birthday since its rebirth. Having previously represented the likes of Muse, Ash and Garbage in the mid-90s, the revamped indie label is now home to such artists as The Temper Trap, Vance Joy, The Acid, Local Natives, Drenge, Superfood and DZ Deathrays. Infectious describes itself as a small artist-based label and it’s clear with such a strong line-up of exciting new artists that the label is right at the forefront of contemporary and alternative music. Founding Chairman and Managing Director Korda Marshall found the time to tell us how the record label and its artists succeed in the current music industry climate. Infectious Music was established in 1993, but re-launched in 2009. What have been the most significant changes since the label’s re-launch? The entire transformation of the business from the physical world to the digital world.

How does Infectious differentiate itself against other independent record labels in 2014? We are relatively well financed. We have lots of experience and a really good address book combined with youthful enthusiasm, brute force and ignorance. What’s the process involved for discovering new artists at Infectious? The process is very simple. Write and record some brilliant new songs and send them to us at a&r@infectiousmusicuk.com or the best way is get out on the road, make a name for yourself and we’ll find you. What’s been the most successful of your campaigns over the past five years? Alt–J’s An Awesome Wave was pretty successful here and internationally. Winning a Mercury Music Prize, nominated for three BRITS Awards last year and over a million album sales around the world. Can you tell us a bit about one of your new artists that you’re really excited about this year? It’s difficult to choose from DZ Deathrays, Superfood or The Acid who all have album releases coming up this summer....we’re equally excited about all of them and they’re all brilliant.

DAN TYTE: 8-bit Fleetwood Mac dantyte.com

Ever since I can remember, I always wanted to be a rock star. My childhood friend Mousy shared my ambition. His older brother was in a band and played The Viper Room. Johnny Depp had said they were cool. Another friend corrobarated this story when he bumped into Johnny Depp rifling through the 7-inches in Bath HMV. With the childhood sunlight turned sepia, it’s hard to say if any of this was true, but I was sold. We snuck into Mousy's older brother's bedroom when he was on tour and appropriated a Gibson Les Paul copy to practice with. We learned how to play all the hits; ‘Get It On’, ‘Cigarettes and Alcohol’ and ‘Ticket to Ride’. The strings hurt my fingers real good. We Brylcreemed our hair real bad. We choreographed a dance routine to the theme tune of TV show Heartbeat, just because we could. We were going places, riding high to the top of the hit parade. For our first tour, we decided to skip the toilet circuit and hop straight to a stage production similar in scale to Michael Jackson’s Dangerous tour. But then it was over. Just like that. Back in the box bedroom of our terraced house, I'd tell the fake crew from VH1's Behind The Music that Mousy and me fell out over Mario Kart differences. We were like an 8-bit Fleetwood Mac.

Lacking the gumption for a solo career or the people management skills to do a Macca and forget The Beatles and start up Wings, I was on the musical scrapheap at the ripe old age of 13. Where was there for a young boy to retreat other than the imagination? In my made up bands, I always got the lion's share of the PRS cheque. Here I was top of the pops, king of the cool, adored by gig goers, revered by even the most caustic of critics. Let me please introduce: #1: PEN PALS – We wear matching sweaters, have magnetic letters on our keyboard stand and people sit cross legged on the floor at our ‘happenings’. #2: DEATH & TAXES – Alexis Petridis will call our 11-hour concept album ‘post-industrial distress, but in a good way’ and a Berlin record shop will vote us ‘band most sexy to jerk off to’ in their endof-year poll. #3: THE OIL PAINTINGS – Elegantly wasted, leather clad nancy boys, longer hair than our model girlfriends, the 3AM girls love us. See you in the fake mosh pit. Dan Tyte's debut novel Half Plus Seven is a tale of redemption for Generation Y and is out now. 33 33

anikainlondon.com

SUNDAY ‘91

THUMPERS — GALORE FEAT. THE SINGLES UNKINDER (A TOUGHER LOVE),TAME AND GALORE

Clash Magazine “Possessing a seemingly never-ending catalogue of pop bangers” The Line Of Best Fit “Album Of The Week” – 9/10

OUT NOW

The Guardian “...all joyously whooshing synths and big bouncing drum beats” This is Fake DIY – 4/5 Drowned In Sound – 7/10

Upcoming London Shows www.rockfeedbackconcerts.com

MONUMENT VALLEY The Waiting Room Stoke Newington

Tue 1Oth June

POND Koko Camden Tue 1Oth June

PETER MATTHEW BAUER

SAINT MOTEL

The Lexington Islington Wed 18th June

The Lexington Islington Wed 9th July

VISIONS FESTIVAL Multiple Venues London Fields

Sat 2nd August

OWLS

HOW TO DRESS WELL ICA The Mall Fri 13th June

HAPPYNESS Servant Jazz Quarters Dalston Tue 17th June

LIU BEI

PYE CORNER AUDIO / NOT WAVING

FRIZZI 2 FULCI

MĂ&#x2DC;

Servant Jazz Quarters Dalston Thur 10th July

Birthdays Dalston Thur 17th July

O2 Shepherds Bush Empire (Illuminations) Sat 1st November Get tickets and full info at: www.rockfeedbackconcerts.com The Dome Tufnell Park Fri 19th September

The Barbican Fri 31st October