AUGUST 10, 2018
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Irelandâ€™s hottest indie punk band
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Cody Simpson & The Tide release their brand new single ‘Underwater’
by Danielle Holian
hen the breezy anthem begins, Cody croons, “Let’s get away, wanna take ya to somewhere I know / Somewhere I know / Baby, I just wanna go, take you to somewhere I know / Unsavour, lost islands and waiting outside of the bar / Out at a bar, waiting outside in a car, let’s get up out of the bar,” to an infectious instrumental. The Aussie hitmaker then goes on to create a sing-along moment during the pre-chorus, he sings, “Cause I wanna go somewhere I know. Where we can take it slow. I wanna go, I wanna go,” before taking a deep breath to head into the chorus, “I’m underwater ’cause I’m drowning in your body/ Maybe we can leave this party / Take ya somewhere that I know.” He takes it down a beat in the second verse, he continues singing, “Topping up the fuel, filled with azure cool / To the crystal pool / Let’s get away now, let’s get away now / The silver engine on / This pirate ship is done, million ways to run / Let’s get away now, let’s get away now.” The new release is sexy and sleek. It’s a blend of rock, blues and pop genres with psychedelic influences. It’s catchy along with the beach-pop hooks that blend perfectly into the rock-in-roll electric sensibility. It’s addictive with an excellent vocal delivery from the 21-year-old singer-songwriter. The song was accompanied with a music video which that was directed by Taylor Curran. Kickstarting the shots, Cody is the first sight strumming a guitar and singing in front of blue
film. Throughout the visuals, there’s a series of underwater features that includes two people dancing in black and white. Whilst Cody is singing in front of the screen, hIS clips are in blue during the verses. Back in 2015, when Cody released his album ‘Free’, he left his solo career behind setting sights on setting up a record label and a band. This new musical journey launched in 2017 when Cody Simpson & The Tide released their debut extended-play ‘Wave One’. Cody Simpson is an Australian singersongwriter, dancer, and actor. He formed his band with their debut single ‘Waiting For The Tide’ through his own record label Coast House Records. ‘Underwater’ was written by Cody Simpson, Adrian Cota, and Shareef Addo.
Emmet McGonagle by Danielle Holian
For our readers, please tell us a bit about your background in music.
My brother has always been an amazing musician, so (out of jealousy) I started to teach myself guitar when I was about 15 and after a while realised I wasn’t too bad at it. I’ve never thought of myself as much of a singer, but I started gigging as soon as I had a few songs under my belt and I haven’t stopped since. Who or what are your musical influences?
My biggest influence is Damien Rice – I’ve had at least two copies of ‘O’ ever since I can remember. I’m also a big fan of Keaton Henson, Isaac Gracie, Leonard Cohen, ABBA, Arctic Monkeys, Slaves… the list gets a bit varied as it goes on.
What inspired your latest track ‘If We Leave Now’?
It’s strange – I wrote this song a while ago but I’ve never really had to explain the story behind it. I was in a relationship that had kind of dwindled – there wasn’t any big drama or any climactic moment which ended things, but we had just grown apart over time. This song is really my way of coming to terms with the whole scenario, and figuring out how best to move on with things without hurting anyone along the way.
How was the recording and writing process for this track?
This track was recorded with my friend Russell (who performs under the name ‘To Bear Sir’). We performed at a gig in Cardiff together and he kindly offered to record and produce the track at his home in Barry, so one day I took the train down to his house and we bashed out the song within a few hours. He’s an amazing musician and a damn talented producer, and I couldn’t be happier with how the track turned out.
If you had the opportunity to work with any act/artist from the past, present or future, who would it be?
My gut reaction would be someone like Leonard Cohen or Bob Dylan, but right now I feel like Alex Turner would be a really interesting person to work with. He’s so talented, but I think he also focuses a lot on creating a brand with his music. I would love to see how much of that character is real or if he’s just been smoking something.
What do you want the listeners to take away from your music?
I feel like my music is quite sad, and that’s not a bad thing. I’m a very bubbly person but I’ve always been a fan of sad music, mostly because of that sense of catharsis that comes with listening to something emotive. I want to make music that makes people feel something, even if that something is sadness. That being said, I might actually have written some happy songs recently, so stay tuned.
How has your music evolved since you began?
When I started writing music I told people that I was writing stories. As a writer, nobody really thought twice about the idea, so I was able to write about my life and then shrug off all of the
vulnerability by saying it was fiction. Since then I’ve decided to be more honest about where my songs come from. I feel like that’s the kind of honesty that musicians need in their work and it took me a while to really adopt that responsibility towards my own music. Nowadays I feel like there is a lot more heart in what I write, and I’m really proud of how my music has taken shape.
What has been a musical highlight for you to date?
Well, this interview ain’t so bad, so this feels like a good time to say thanks for having me. It’s quite awkward being an unsigned musician, mostly because it takes a while to start developing a reputation within your genre. The highlight for me is being able to release music under my own name and have people take an interest in what I come up with, so thank you for your time.
Do you have any advice for aspiring singersongwriters?
Don’t hold back and don’t overthink. No cliches, no recycled lyrics, no second-hand riffs – just try to capture a feeling in your music and develop it over a few drafts. Write something which other people can relate to, and try not to be discouraged if it takes a while to gain momentum (also avoid Rita Ora like the plague).
There’s a lot in the pipeline right now. I’m currently rounding up my Master’s degree in magazine journalism in Cardiff, and then I’m moving to London at the end of this month. If all goes well I’ll be releasing an EP sometime really really soon. It might even feature one of those happy songs I mentioned earlier. I’m not too sure what I’m gonna call it yet, but give me a shout if anything comes to mind.
by Dave Simpson
he roots of English alt-rock act Akiva can be traced back to the school days of Bedfordshire residents Malcolm Carter and Rob and Dave Mercel, who spent a lot of time soaking up the delights of warehouse raves, classic guitar riffery and grunge growing up together. After teaming up with northwest native Dave MacKenzie, the ensemble of aspiring musicians set off to London where they proceeded to hone their skills in a dingy rehearsal room before finding themselves sharing studio space with genre heavyweights Kasabian. Commenting on the kinds of things that inspire their songs, drummer Dave Mercel said, “We’re generally fascinated and a bit terrified at the current state of the world and how it resembles the periods running up to the two world wars in terms of huge inequality, segregation and racial tension, and politicians using people’s fears and financial insecurities to whip up a culture of division, mistrust and discrimination.” To that end, guitarist/vocalist Dave MacKenzie asserts that their new single, “Ammunition”, “drives at the heart of the decision makers in positions of power, who take
lethal decisions with little care of the consequences. Arms deals, corruption, dictators and Orwellian never-ending wars of propaganda stoked the fires for ‘Ammunition’.” The spunky three-minute song starts subtle, showcasing some soft but stirring riffs underneath a hushed but heartfelt refrain for the first forty-five seconds or so until the whole thing transitions into an enthrallingly energetic chorus full of fervent singing and animated instrumentation. An enticingly spirited second stanza follows from here, exuding oodles of enthusiasm and attitude ahead of a relatively restrained but brilliantly bracing vocal breakdown about twothirds of the way through. This is succeeded by a superbly vivacious climactic chorus which ensures the anthem is afforded an invigorating ending. The result is a remarkably rousing and intoxicatingly smooth alt-rock offering, the melodic singing, riveting music and altogether accessible style of which should allure a large listenership. You can download a copy of “Ammunition” for yourself from iTunes now.
Zayn returns with new single ‘Too Much’ ft. Timbaland
by Danielle Holian
ayn is back with his brand-new single ‘Too Much’ from his forthcoming second album featuring Timbaland. The ‘Mind of Mine’ hitmaker starts the song off by singing, “I think we met and the time flies / I took your digits a while back / I think we f**ked in the flashback / Won’t leave my mind, kinda sidetracked.” The heartfelt and sensual track has an excellent combination of the ‘Pillow Talk’ tortured love lyrics and Timbaland’s signature electro-soul beats. A troublesome relationship is highlighted in the song as the 25-year-old singersongwriter sings about a situation where two people clashing wanting different things from life and each other. During this relationship he wanted it all; having the girl while chasing other while not expecting to be caught out. He recalls cheating on a lover whilst on a night out and thinking back regretfully, he sings, “Felt good but now I feel bad / I think I know I can’t take it back / No, there’s nothin’ I can say.” Timbaland makes his appearance on the prechorus, he raps, “Must be an addiction / I wanted it all, didn’t expect it to fall / Must be an affliction / I wanted to call, but I didn’t call / Now it’s keepin’ me up night and day / Keepin’ me up night and day / Must be an addiction / Now there’s nothin’ I can say but.” Both acts sing on the chorus, questioning their actions, “I guess I want too much (too much) / I
just want love and lust / You just can’t love enough / That’s why I need a touch.” Zayn dreamily sings over a haunting falsetto and pulsing beat produced by the legendary hip-hop producer and rapper. The sultry R&B ballad is accompanied with drum beats and synths. On the second verse Zayn calls himself out confessing, “I never meant to, but I did though / I gotta keep it on the d-low / Then again, what the fuck do I know.” He feels confused and goes on to discuss how he thinks about one girl when with the other, “You’re always on my mind so / Felt good but now I feel bad / I think I know I can’t take it back / No, there’s nothin’ I can say.” As the song rolls on aiming towards the end, paranoia showcases itself, Zayn sings on the bridge, “When the room becomes a game we play / White lines they seem to turn to snakes,” he’s also coming to terms that his lover doesn’t want an open relationship. He lies about his relationship and other sexual encounters as he continues to sing, “I guess I’ll turn you ‘way / Say white lies to your face / You know I know my place.” While he admits there are no excuses to his infidelities, he repeats, “Nothin’ I can say.” ‘Too Much’ was written by Angel López, Federico Vindver, Zayn, and Timbaland. It will feature on Zayn’s upcoming second studio album, following his 2016 debut solo album ‘Mind of Mine’.
Set To Release Debut Extended Play
by Danielle Holian
ondon based singer Runrummer is getting ready for her forthcoming debut extended-play ‘Soul Wrinkles’. Although this is the songstress’ first taster into the musical world, she tells, “I have been involved in writing and recording for a very long time. Almost as soon as I could read and write I was banging out poems and stories.” Since the age of 11, the singer-songwriter and her cousin would write songs together, she says, “He would write the chords, I would write the lyrics and we’d perform as much as we could at school and family gettogethers. I taught myself how to play the guitar and still can’t read a note of music to this day.” “Imagine Phoebe from Friends with bear claw, turkey leg and old lady – that’s me!” By the age of 16, she began working with a couple of DJ’s, she tells, “originally got in touch with them to start recording my own stuff but they loved it so much asked me to write for them, so I switched from indie to EDM.” One of their songs got picked up by Showtek and they recorded it in their studio, in Amsterdam. “This was around the
time they released ‘Booyah’ which reached number 5 on the UK singles chart and number 1 on the dance chart, so it was a big break for us.” During this time, she got involved with 2 Dutch record label, whilst writing alongside topline EDM writers with Strengholt. “This is when I started writing tracks for Chainsmokers, Lucky Charmes, and Jordy Dazz among others,” she says. With many highs, come many lows. The songstress had a bad experience with her manager, at the time, so she decided to focus on her studies in Geography and Politics, “this was a world away from music,” she says. She struggled with mental health and lost touch with songwriting, “When I got out of uni, moved down to London and started a normal office job, I fell into a deep depression and felt very lost. I missed making music. I knew that’s what I wanted to do but I felt like I’d missed my chance and I couldn’t find a way back into the industry.” Rolling into 2017, the songstress tells, “I made a deal with myself to stop being such a bellend and do something with my life rather than wallowing in self-pity and regret,” whilst on a
trip to Jordan with some friends. “The day after I got back to London I knocked on the door of a studio (Cafe Music) round the corner from my flat in Bow and the rest has snowballed from there. I met my amazing co-producer Rob Daniels, we spent a good few months experimenting with sounds, then the tunes started to flow thick and fast.” “At the same time, I was attending evening classes at the London College of Creative Media (LCCM) learning how to produce myself. This is something I feel has really held me back in the past; having to rely so much on other people, writing songs for their music rather than my own and not being able to be in creative control. So between working full time, attending classes, writing songs, working in the studio and trying to maintain a normal social life, life has been pretty full on.” “The last 16 months have been spent crafting this beautiful 4-track EP and I couldn’t be more excited to finally let it out into the world.” Fans can expect “cosmic synths and lots of feeling with a sprinkling of banging beats and catchy lyrics,” regarding her forthcoming music. Her debut EP ‘Soul Wrinkles’ is “a journey of harrowing selfdiscovery and emotional turmoil.” Her debut single was chosen as the “most accessible to the widest possible range of people,” in a sense it fits what mainstream pop is all about, compared to the rest of her EP. “It’s catchy as hell and a proper summer banger so it’s perfect for August.” It was inspired by her struggles with mental health – anxiety and depression – “the way those struggles can change you as a person, feeling sometimes like you have two different identities
or personalities which you can’t control.” Although the song may seem like she’s referring to a lover, in a matter of fact she’s calling out her darker self. “It’s all very self-reflective and inward looking. The way it creeps in is almost like a lover you can’t resist. “You hold my hand, I feel my face is blushing” – that’s this other side of me coming in, taking control and I’m helpless to stop it. Then the chorus is a descent into blissful madness.” The recording and writing process was a journey. After having a break from songwriting, she felt “depression had robbed me of my creativity. To be able to get back in the studio and feel the creative juices flowing again was the best feeling in the world.” Her positive outlook on life, in general, is mesmerizing, she continues, “I think if you surround yourself with the right people and don’t rush the process then the rest will come naturally. But you need to give yourself space and time to let that happen. I had so much pent-up emotion inside that it all just came spilling out. Then you have to run after it and try to catch as much as you can before the wave disappears.” “So many people and styles have inspired me over the years,” she tells about her musical influences. “Growing up the biggest inspiration from my dad was David Bowie.” She describes her love for Kate Bush, from her mother, “The way she incorporates such unique sounds, styles, and movements. So different to everything else at the time, and she was so young when she started out! So young but also so fiercely independent and in control.” From her own particular taste, she tells
“The last 16 months have been spent crafting this beautiful 4-track EP and I couldn’t be more excited to finally let it out into the world.”
‘Demon Days’ by Gorillaz was the first album she ever bought, “ had that thing on repeat on my Sony Walkman for about a year before I got another CD.” She went to see them live last year at the MEN and the 02. “I would love to work with Damon Albarn one day. I’ve actually written a song called Urban Jungle with him in mind. That song is definitely on my preliminary track list for the debut album.” “I went down the wrong road for so long trying to please everybody else and forgot about what makes me feel happy and fulfilled,” she opens up when asked what advice she’d give to fellow aspiring singer-songwriters. “If you find something you love, like music and writing, then give it all you’ve got because real creative passions like that are hard to find. Don’t live with regret. Follow your heart, give it your all and write about things that are personal to you. If it’s coming from the heart I think it’s easier for fans to relate and feel a connection with your music.” She wants her music to be a “form of escapism,” for listener’s “ to be able to relate to the messages or feel transported to another place in some way.” She’s truly open about her struggles and sexuality. “A lot of my songs touch on struggles with mental health, gender, and sexual identity, so there’s a lot of stuff in there that’s very relevant to my life and what I’ve seen a lot of other people going through. Raising the important message that no one is alone, she tells, “I think music is one of the best ways to help deal with different emotions and life
situations and I would love for my music to help people in that way.” The songstress gets straight to the point when asked if she had an opportunity to work with another artist from the past, present or future, she confidently tells that she’s written a song for Alex Turner. “It’s called Nightcrawler and it could be taken in two possible directions; early Arctic Monkeys indie vibes, or 80s as hell with cosmic synths and chipspeech.” Although the artist doesn’t know it yet, she tells, “We’ve already come up with a quick 80s sketch. If I ever meet him I will try to play it for him. That would be bloody bonkers if he actually took it up.” She shows her love for fellow singer Hayley Kiyoko, “That girl is absolutely smashing it! The way she uses female pronouns and portrays real female relationships, and the connection she’s managed to build with her fans. This is something that has really been missing in the music industry and what a lot of labels have stayed away from promoting in the past, but she’s stuck to her guns and it’s finally paying off.” The inspiration and love have helped the songstress’ fear of not writing so candidly, “but she’s paving the way and helping to smash those fears for everybody. She’s really becoming a pioneer for gay girls around the world and she’s only just getting started.” On a final note, Runrummer finishes out the interview thanking me for the interview, “This is the first interview I’ve ever done as a solo artist so it’s a real honour.”
Runrummer ‘Good For Nothing’
by Danielle Holian
ondon based singer-songwriter and producer, Runrummer, is getting ready to release her debut four-track extendedplay ‘Soul Wrinkles’ this November. With the release in sight, Runrummer has released the first taste from the forthcoming extended-play entitled ‘Good For Nothing’. The aforementioned track deals with mental health, particularly anxiety and depression. The true struggles are displayed in a delicate way shining through Runrummer’s fascinating vocals. The personal song was inspired by Merryn Jeann and her collaborations with Tora and Møme. While taking the listener on a powerful journey into a blissful madness, she surely brings them back to reality in a wonderful way as the song comes to a finish. It’s a great introduction to her artistic vision. The gleaming electropop production is attractively original. Runrummer leaves room to gain exposure, gather more fans, and leave the listener on a high. She embraces every inch of herself throughout this track in an elegant, gritty way. The four-track debut is a highly anticipated release. After the first listen, it’s without a doubt hooking. The amazingly crafted track, innovated with electropop showcases a pleasant forthcoming release from Runrummer. Livi Morris took the name Runrummer as a moniker from the famous Rum Runner Club that
launched bands in the 70s and 80s like Duran Duran and Dexys Midnight Runners. She began writing poetry which lead into lyrics, which began her long for songwriting when she got her first guitar at eleven. As well as this, her musical tastes lead back to her childhood while listening to her dad’s records. At 17, the songstress was finding her sound and where she belongs in the music industry. Her style and writing are like renowned electronics acts such as The Chainsmokers and Showtek through the 2-Dutch record label. She went on to go to university while keeping the music business interest at the centre of her mind. With all this experience Runrummer was born. She pens influence from artists like Flume, ODESZA and Tame Impala, along with new names Hayley Kiyoko and King Princess. As her music is out there and deals with real issues, acts like Hayley Kiyoko and King Princess, who confront struggles with sexuality and gender identity, resonate with the songstress’ music. Her passion shines through ‘Soul Wrinkles’ in a fascinating way that doesn’t go unnoticed. She’s cementing her way into the music industry, making her mark, and becoming the new face of hard-hitting British electropop. The EP was recorded and co-produced with Rob Daniels at the Cafe Music Studio in Bow. ‘Soul Wrinkles’ is due to be released on November 9th, 2018.
The Clockworks Ireland’s hottest indie punk band
by Danielle Holian
ime has come for Ireland’s hottest indiepunk band The Clockworks. And with the release of their debut extended-play ‘At the Greasy Spoon’, the four-track collection is an authentic and honest release from the four lads to date. ‘Bills and Pills’ opens the EP with a guitar driven and a beating sound, as James, the lead singer sings, “Hannah’s into Charlie / Charlie is a Speedfreak / David likes to dabble but he’s scared to be in trouble / Jack’s smoking is chronic
Photography by Nicholas O’Donnell
/ I swear Matt’s an alcoholic / And Karen turns to pills when the bills threaten to double.” The truth about how society really is told throughout this tune, he repeats on the chorus, “But the bills keep coming / So the pills keep coming.” They don’t feel like they’re being heard. In general, they feel like they’re being ‘drowned out by bickering and bitching.’ Before the song ends, he continues, “There’s a bang bang on the door / She’s not waiting for the man anymore / He knows her well, she’ll take what she can / And
he’d sell water to a drowning man / He’d sell water to a drowning man.” ‘Rumours in the Stockroom’ finds the band digging deep into a night out. James opens the song singing, “There’s no time for Coffee / When there’s offers at the offy / Can somebody call an ambulance / I’m dying for a drink.” The tune continues to dive deep into a spontaneous selfassured moment to head out before dealing with work the following morning. The paranoia is displayed excellently, he continues, “My new phone is broken / I’m rolling in late / I’m never drinking again / Another drink will set me straight.” His vocals are monotone to the upbeat and punk bass riff, unlike the subject matter. ‘The World Owes Me a Favour’ sees the band fed up. With the blunt instrumentation, they get straight to the point. The danceability of the tune is the only good part, not disregarding the song as a whole, just storyline wise. The current state of affairs and social commentary of how politics isn’t serving the public, but themselves, James repeats in angst, “This is not a joke.” Closing out the EP, ‘Late’ finds the consequences of life, James sings, “We’ve been here before / And we’ll be here again,” the truthful lyrics of knowing something is really wrong on the chorus with a strumming and fascinating instrumental. They accept the fact that life gets in the way to throw them off sometimes, but still playing along with the drama as they describe how the troubles go out the window when lust showcases itself. It’s a great punk-rock tune to end the collection. The driving rhythm on gracious guitar hooks adds true flavouring to the alternative band with their take on the street sound. The gritty guitar sequences and pin-point drumming shines the band’s perfectionism. Their lyrics are sharp capturing the listener’s attention almost immediately with their views and opinions on society. They’re creative with an
intelligent, fast and tight sound. Throughout each track, they perfectly display a blissful angst while relating to social issues in a witty way. In a world where everyone wants to be seen and heard, this band isn’t shy or fearful of being forgotten in the mainstream. They voice the frustration current bands tend to shine away from. Throughout the EP, the echo their influences from acts like The Libertines and The Strokes. It’s a perfect combination of witty lyricism and gritty instrumentation. Each tune was produced in a solid and excellent manner. The results are in the aesthetic collection with their cleverness and cultural wordplay and catchy hooks that make them relevant. They discuss life as a young adult in today’s day and age. They certainly don’t hold anything back. They’re fresh and exciting. As a whole, their energy is magnificent. The four lads are certainly a polished band. There’s a lot of drama on each track, but it’s the relatable storylines that make The Clockworks stand out in particular. They could very much keep to the music that’s released in the charts, but these lads are staying true to their musical flavouring and where they want the band to go. And they’re constantly upping their game. With the pleasurable listen of each tune, these lads are here to stay. Cementing their greatness early on, there’s a lot more to be expected from this fantastic band. They take risks and they have paid off. The proof is in the first listen of ‘At the Greasy Spoon’. Their attitude is needed as they represent that something music is missing today. This EP could certainly be their breakthrough moment. The Clockworks are James McGregor (vocals/guitar), Seán Connelly (guitar), Damian Greaney (drums), and Tom Freeman (bass) Indie Punk band from Galway, Ireland.
by Tommy McCormack
he first Ant-Man (2015) film, while not considered as the peak of the Marvel Cinematic Universe, was still an enjoyable, breezy, almost Disneylike superhero caper. Its sequel, Ant-Man and The Wasp, follows suit, which may be what audiences need right now after the gut-punch heaviness of this year's Avengers: Infinity War (which chronologically happens just after this film). The Ant-Man films take pride in eking out their own, smaller, comparatively domestic corner of the MCU. Epic globetrotting and global peril are not necessary when a few San Francisco blocks will suffice, although there is more room for destruction this time. It may not be a huge upgrade on its charming predecessor, but those who enjoyed it- and tolerated its bizarro sci-fi mumbo-jumbo about quantum physics, etc. should find plenty to be entertained by in the sequel. It is worth noting that, although these films are largely their own thing, this instalment does acknowledge the events of 2016's Captain America: Civil War that has happened in the interim. Beyond that, this is primarily an AntMan sequel. Not only is our goofy-yet-wellmeaning hero Scott Lang (Paul Rudd) under house-arrest after illegally helping rogue Avengers, but his reluctant former allies, fatherdaughter duo Hope (Evangeline Lilly) and Hank Pym (Michael Douglas), are on the run due to their involvement by proxy. This complicates things for all three of them as they attempt to build a portal to the mysterious sub-atomic "quantum realm" where Hank's longdisappeared, supposedly-alive wife Janet is
stranded and in need of rescue. Further complicating things are inevitable Marvel antagonists, appearing here in the form of the vigilante "Ghost", able to phase through solid matter, and the smarmy criminal Birch (Walton Goggins), each of whom has their own agendas regarding Hank's technology. The plot starts promisingly enough and builds to an action-packed climax where everything collides, but the meandering middle-act is admittedly bogged down by one plot-thread too many, namely Birch's. Like its predecessor, there is a certain paint-by-numbers approach to proceedings, such as exposition-heavy dialogue, two-dimensional characters and somewhat mechanical, forced character development, not to mention some lazy plot conveniences when it comes to characters overcoming obstacles. Having so many elements means that there is not enough room for everyone to shine- not only does Ant-Man himself takes a back-seat at times, but the title's inclusion of 'The Wasp' mostly feels
like a nod to comic-reading fans of that popular female superhero, not an accurate description of any equal importance or presence she may have here. Thankfully, the film has just enough propulsive energy, exciting set-pieces and goodnatured humour to overcome its flaws, remaining true to its mission to deliver an unpretentiously fun romp. A slightly wider scope and bigger setpieces indicate how director Peyton Reed, having directed the first film, has grown more confident in his blockbuster-helming abilities. He constantly tries, aided by a cast-having-a-blast, to find room to inject personality, at times even abruptly slowing the pace to allow for tangential witty banter, a trait that might kill any other blockbuster. It is debatable whether or not the comic relief bit-parters, like Michael PeĂąa's, needed to return for anything other than fanservice, but that amusing service is welcome. The writers have endless fun mining as many gagsand superhero battle tactics -as possible from the
heroes' size-changing, sci-fi gadgetry. These moments are perhaps the best example of this series being unapologetically afraid to embrace the ridiculous, even during moments of dramatic peril. Perhaps more importantly, this popcorn flick has heart, which lies in its portrayal of emotional family dynamics, surrogate or otherwise. This theme is arguably stronger here than in any other MCU-superhero's series thus far, with father/daughter dynamics being a surprisingly particular example. Ant-Man may seem like the lesser guy compared to juggernauts like ...Civil War and for many that may include the overall quality. There is still enough here for fans willing to go along for the hokum-filled ride, particularly one that is a fresh, tangential diversion from the rest of the MCU. At the very least, it does not hurt to mentally suspend memories of the doom and gloom of the current Avengers storyline for two hours- before it soberingly, glumly, inevitably resumes after the credits have rolled...
3ARENA DUBLIN 2018
Photography by Anamaria Meiu
Habberdash What Do We Know
Pushing forward with the 2nd release from their 'Morning After The Madness' EP, the South Yorkshire (UK) outfit unveil their 'What Do We Know' official video single. 'What Do We Know' ramps up the intensity with the hardhitting modern rock leanings akin to Don Broco, Twin Atlantic and Deaf Havana
Friede Merz Albion
by Chris Thompson
Having already performed at Glastonbury and Bestival, London-based artist KATIS has unveiled new single 'Touches' and accompanying video. 'Touches' may appear to be just a conventional love song on the surface, but Phoebe carefully pieced together the lyrics so they could be applied to both yourself or someone else.
ALBION is the new single from Friede Merz and showcasing a fresh sound. Taken from her new EP â€˜Daisy Laneâ€™ released on August 17, via Spray Can Records/Believe Digital. This is Friede's second EP release and the Hamburg artist packs both EPs together on one vinyl. The vinyl record will also be released on August 17.
Josh McGovern Weight
Josh McGovern has released the video for his new single 'Weight'. Weight is a beautifully haunting piece of dark altfolk/Americana addressing mental health. Josh draws inspiration from influences as eclectic as traditional Irish folk music to the more contemporary likes of Laura Marling and Beirut.
Smoke Season Sweetest Thing
LA buzz-duo Smoke Season are back with a new video and single Sweetest Thing. The slinky indie-pop anthem combines an earworm chorus with pulsating synths, summerjam guitars and a fluid, subversive approach to gender roles and expectations. HOLYCHILD lead singer Liz Nistico directed, edited and choreographed the new video.
BEST USA ACT (nominations)
* The Oshy Annas * The Prettybads * * American Beauties * Revolushn * American High * Lori Diamond & Fred Abatelli (LDFA) Duo * The FMs * * Sofi Tukker * Walk the Moon * * Martha Davis and The Motels * * Rachel and the Ruckus * * Young Rising Sons * Sluka * BEST USA SOLO ACT (nominations)
* Brian Falduto * Sabrina Carpenter * * Steve Grand * Brandon Stansell * Eli Lieb * * JoJo * EBEN * Hub Reynolds Jr * * Emyna The Rock Queen * David Martinez * * Paisley Fields * Anna Clendening * * Tom Proctor * Jared Dylan * * Ricky Rebel * Joshua David Evans * * G Matthews * Haley Reinhart * * Aaron Paul * Odetta Hartman * * Halsey * Finneas * Polartropica *
*More to be announced – to nominate an artist/band email us at email@example.com*
Contributing Writers Dave Simpson Danielle Holian Chris Thompson Tommy McCormack Contributing Photographer Anamaria Meiu Editorial Trev Padraig firstname.lastname@example.org Paddy Dunne Paddy@puremzine.com Sarah Swinburne Sarah@puremzine.com Front Cover Nicholas O’Donnell
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