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December 07, 2018

Your Weekly Music Fix






ello and welcome to PureMzine, weekly music news magazine. Each week our publication will bring you all the latest music news and the odd movie review from our contributors. Our weekly music video chart has become even bigger, with the inclusion of the PureMzine #100, that’s one hundred music videos featured each week in the magazine from artists all across the world. I hope you enjoy this week's edition, thank you! Editor -

Ireland’s only weekly music news magazine

Chrisson Thomp


Editor Chris Thompson CONTRIBUTORS Dave Simpson Anne Hunter Paulo Nuno Kenny Ruttledge Tommy McCormack CONTACT CONNECT Instagram @puremzine Twitter @puremzine YouTube #PureMzine 02

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TOP 20 IRISH Official Music Video Chart

Hozier - Movement Dermot Kennedy - Power Over Me Versatile - Lost & Found INK - 86 BOP Fontaines D.C. - Too Real Orla Gartland - Between My Teeth Kojaque & Luka Palm - Date Night Pillow Queens - Gay Girls Starman - Jack Lukeman with the National Children's Choir JyellowL - ME N ME TOO Ivan Nicolas - Burned Daithi - Orange ft. Sinead White SIIGHTS - Broke It With Me Sina Theil - Since you’ve gone to heaven Ushmush - Grá Mór David Keenan - Two Kids Dania - 2 in 1 Fjokra - Sugarface ft. Annie Bea Uppbeat - In My Zone Ciarán Moran | Follow Your Soul

(Videos 1 month old from release date are removed to keep it fresh) keep up to date via our YouTube channel as charts are updated daily! 03

TOP 10 Global

Acoustic/Live Music Video Chart 1 2 3 4 5 6 7 8 9 10

Marshmello ft. Bastille - Happier Clean Bandit – Baby ft. Marina Rita Ora - Let You Love Me Boyce Avenue - Hero ft. Mariana Nolasco The 1975 - 102 Passenger - He Leaves You Cold Rudimental - Walk Alone feat. Tom Walker VULFPECK - Lonely Town ft. Theo Katzman Jon Bellion - Conversations with my Wife Dermot Kennedy - Power Over Me

TOP 10 Global

Audio/Lyrics Music Video Chart

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XXXTENTACION - BAD! Billie Eilish - Come out and play 6ix9ine - KIKA ft. Tory Lanez ZAYN - No Candle No Light ft. Nicki Minaj Kodak Black - Take One Sasha Sloan - Older LSD - Mountains ft. Sia, Diplo, Labrinth CNCO, Meghan Trainor, Sean Paul - Hey DJ Lil Skies - Opps Want Me Dead Wisin & Yandel - Guaya 04


By Dave Simpson

aving developed an affinity for composing music and performing at an early age by experimenting with his father’s guitar, Wisconsin born indie folk/pop artist Derek Sallmann continued to hone his musical skills growing up and went on to release his inaugural album, All Seasons, back in 2016. Since then, he’s played more than 300 shows and managed to rack up an array of esteemed accolades, including the Shepherd Express 2017 “Best of Milwaukee” Award for “Best Acoustic Musician”. After spending the majority of 2018 putting together new material with producer Bill

Lefler and and co-writers Kyler England and Garrison Starr, the adept American musician is now preparing to cap off the year by unleashing a brand new EP entitled Love, Future You on December 14th. The enticingly pleasant five track compilation commences with the captivating cool music and endearingly delicate refrain of its amiable eponymous anthem, after which “Sunup to Sundown” steps into the spotlight to enthral with its terrifically cherry instrumentation and superbly sanguine serenade. “Breakdown, Breakthrough” starts subtle in its wake, showcasing a combination of 05

calming guitars and relaxing yet expressive vocals that grow gradually in vigour and vibrancy going forward, giving rise to an alluringly light yet heartfelt offering that washes warmly across the senses on the way to “T-Shirt Weather”, which subsequently serves as a wonderfully rosy preface to a delightfully upbeat finale in the form of “Feels Like Home”. Sallmann has spawned a stupendously sunny and uplifting fusion of folk and pop here that stays consistently harmonious and airy as it unfolds. Its accessible synthesis of affable vocals and mirthful music makes for a remarkably easy listen.


3ARENA DUBLIN 2018 Photography by Paulo Nuno

PureMzine HOT 100

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100 top music videos on PureMzine. Videos are added daily as artists upload to their channels and videos one month old from release date are removed. Keep an eye on the live chart via

Ariana Grande - thank u, next JENNIE - SOLO Khalid - Better Anne-Marie & James Arthur - Rewrite The Stars XXXTENTACION & Lil Pump - Arms Around You David Guetta, Bebe Rexha & J Balvin - Say My Name Jennifer Lopez & Bad Bunny - Te Guste Anitta - Veneno J. Balvin - Reggaeton Nicki Minaj - Good Form ft. Lil Wayne Ellie Goulding, Diplo, Swae Lee - Close To Me Anitta - Não Perco Meu Tempo Lady Gaga - Always Remember Us This Way Marshmello - Together Alejandro Sanz - No Tengo Nada Little Mix - Strip ft. Sharaya J Kodak Black - ZEZE ft. Travis Scott & Offset Mark Ronson - Nothing Breaks Like a Heart ft. Miley Cyrus CNCO, Meghan Trainor, Sean Paul - Hey DJ Calum Scott - No Matter What Prince Royce, Marc Anthony - Adicto Backstreet Boys - Chances The Chainsmokers - Beach House Anitta - Goals Nacho, Manuel Turizo - Déjalo 08

26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Anne-Marie - Perfect To Me A$AP Rocky - Sundress Sabrina Carpenter - Sue Me Migos/Quavo - HOW BOUT THAT? The Chainsmokers - This Feeling ft. Kelsea Ballerini Kany García, Residente - Banana Papaya The 1975 - Sincerity Is Scary KSI - Ares Hozier - Movement Shawn Mendes, Zedd - Lost In Japan Travis Scott - YOSEMITE Little Mix - More Than Words ft. Kamille C. Tangana, Niño de Elche - Un Veneno Migos/Takeoff - Casper American Authors - Say Amen ft. Billy Raffoul Madison Beer - Hurts Like Hell Ft. Offset Jess Glynne - Thursday ECKO - ICE A.CHAL - LA DUEÑA ft. Darell Robin Schulz ft. Erika Sirola – SPEECHLESS Cheryl - Love Made Me Do It A$AP Rocky - Gunz N Butter ft. Juicy J Young Dolph - Black Queen ft. Momma Gabbana Moneybagg Yo - Say Na ft. J. Cole City Girls - Season ft. Lil Baby 09

51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

Juicy J - Neighbor ft. Travis Scott Alessia Cara - Not Today MUSE - Algorithm Burna Boy - On The Low Foster The People - Worst Nites Jeremy Zucker - comethru Major Lazer - Blow That Smoke Ft. Tove Lo Lil Yachty - Get Dripped ft. Playboi Carti Too $hort - Only Dimes ft. G-Eazy, The-Dream Kodak Black - Calling My Spirit The Chemical Brothers - Free Yourself Mr Eazi - Surrender ft. Simi Mr Eazi - Chicken Curry ft. Sneakbo & Just Sul Vice & Jason Derulo – Make Up ft. Ava Max The Black Eyed Peas - NEW WAVE Kane Brown - Baby Come Back to Me Kygo - Happy Now ft. Sandro Cavazza Marc E. Bassy - Love Her Too ft. G-Eazy Birdman, Jacquees - Presidential Mr Eazi - Surrender ft. Simi Jay Rock - Shit Real ft. Tee Grizzley Bazzi - Dreams The 1975 - It's Not Living (If It's Not With You) Mariah, Casper Magico - Blah Danielle Bradbery, Thomas Rhett - Goodbye Summer 10

PureMzine HOT 100

76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

Kelsea Ballerini - Miss Me More Kris Wu - Coupe ft. Rich The Kid $teven Cannon, Lil Xan - I Might Alec Benjamin - Boy In The Bubble K CAMP - Clouds ft. Wiz Khalifa Marshmello ft. Bastille - Happier Aloe Blacc - I Count On Me Spice - Romantic Mood MUSE - Blockades MØ - Blur ft. Foster The People CHIP - My Girl ft.. Stefflon Don, Alkaline & Red Rat MUSE - Break It To Me Tessa Violet - Bad Ideas Dave East - WIT ME Noah Cyrus with Gallant - Mad at You Olivia O'Brien - Care Less More A Perfect Circle - So Long, And Thanks For All The Fish Carson Lueders - Back To You Chris Cornell - When Bad Does Good Bad Gyal - Yo Sigo Iual Jay Rock - For What It's Worth Lucifena, Lil Xan - On Sight Jax Jones, Years & Years - Play The Kooks - Pamela Andrea Bocelli, Aida Garifullina - Ave Maria pietas 11


THE CROWN BAR WEXFORD 2018 Photography by Kenny Ruttledge

Ciarán Moran releases new single 'Follow Your Soul' 2018 has been an incredibly successful year for Irish Singer Songwriter Ciarán Moran, After the release of his Latest Single “Mother” in March alongside Touring with Irish Rock Legends Aslan on their Feel No Shame 30 th Anniversary Tour, and two performances at Electric Picnic 2018, He now looks towards the release of his Debut EP “& I Haven’t Even Started Yet” in which is due to be released for March 2019. Before the release of his Debut EP, Moran releases the first single from the EP, “Follow your Soul”, A track that truly shows the rawness, and honesty of an inner-city boy telling the tales of what had went on around him as young boy growing up in the heart of Dublin, Written about the story of a Parent losing their son to something that is not known as abnormal in Ireland today, “Homelessness”, With the expressions and honesty throughout the song, it feel’s if he is the one living to tell the tale, With lyrics about the deceased’s son such as “When your little one cries she shouts and roars, we say daddy’s gonna come with your toys but she knows” gives a raw approach and shows that he is not metaphorically speaking, it’s what we live with now in the land of Ireland. This track brings Ciarán Moran back to his roots in terms of his Slow Ballad, Individual, Original acoustic style. As an Irish Artist Moran again went with a less is more approach for this track, however does include additional instrumentation from Professional Irish Musicians Rohan Healy, Al Quiff of Irish Duo “The Dublin City Rounders” Mixed and mastered by Rohan Healy and David Virgin (Nick Cave, Mary Black, INXS, Billy Bragge and many more), It brings a full and produced sound, along with tonnes of experience to the track! You can catch Ciarán live at Vicar st, Dublin with Aslan on December 27, 2018.




THE CROWN BAR WEXFORD Photography by Kenny Ruttledge




Cork’s alt-pop group Happyalone unveil new video ‘Go Slow’


s part of the Season IV project the accompanying video to 'Go Slow' was released today, December 7, 2018. The new music video from Happyalone is described as, a stark reminder of what a life unfulfilled can look like. 'Go Slow' is of its time, with a focus on technology and connectivity, the very things of course that make us feel disconnected, disillusioned and anxious. 'Go Slow' captures this with its gravel-like white noise beat that gnaws ear drums, disrupting the sanguine keyboard while the trapped high hat rhythm offers a diversion from the unguarded lament of the lyrics. 'Go Slow' is the first release on new label Real Fear Records.


Audio/Lyrics Music Video Chart

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Westlife - Summer Wind Van Morrison - Ain't Gonna Moan No More Maverick Sabre - Her Grace ft Chronixx Talos - See Me Villagers - Sweet Saviour Walking On Cars - Monster FLYNN - My Gold Fontaines D.C. - The Cuckoo Is A-Callin' Mick Flannery - Star To Star Damien Dempsey - Apple of My Eye (with Wildwood Kin) 18

DAVIE FUREY releases new video single ‘Flames On The River’


lames On The River is the second single from Davie’s forthcoming album. The first single Secret Light received huge airplay support helping it go straight to No1 on iTunes (singer/songwriters charts). The song is inspired by Trumps' destruction of America and subsequent response from those inspiring kids who were caught up in the school shooting in Florida. "The lyrics are not an in your face protest song, I wanted to say it differently” Davie says. “So it’s a song of revolution, a song of protest, a song of praising courage, a song of defiance, a song that says you can’t do what you like in the name of people you are supposed to represent.” Fureys' debut album 'Easy Come Easy Go' was very well received in audiences across the country having been showcased by RTE, BBC Radio both home and abroad, resulting in a worldwide publishing deal with Universal Music. Nominated three years in a row by The Pure M Awards, for Best Newcomer, Best Male Artist and Best Irish Solo Act. Davie’s knack for telling a story through song and his ability to engage a crowd have resulted in many sold out shows on his previous tours.



NATIONAL OPERA HOUSE W Photography by Kenny Ruttledg


WEXFORD 2018 ge


Meghan Ali featuring Clare Sand

Coming Home for Christma


By Dave Simpson

ork based musicians Meghan Ali and Clare Sands have joined forces to spread the Christmas spirit by releasing a charming yuletide tune entitled “Coming Home for Christmas”. Originally written eight years ago when the pair were 17, both artists felt that now that they’re in their mid-twenties with more experience under their belts, the track needed to be revamped to reflect the distance they’ve travelled in the time since it was first conceived. Dedicated to Meghan’s brother who has been studying abroad in France over the past twelve months, the song is about how no matter where you are on Earth coming up to Christmas, there’s nothing like getting on the road home. Also featuring the talents of drummer Shane Gough, bassist Niall McGuiness, harp player Aisling Urwin, and backing vocalists Nikki Griffin and Emma Maguire, the wonderfully warm three and three quarter

minute offering is introduced by a barrage of strikingly vibrant vocals which reverberate pleasantly across a sea of seductively soft instrumentation until the music and melody increase in energy and momentum just past the forty five second mark. 22

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A fantastically fervent and affecting verse follows from here, paving the way to an enthralling heartfelt chorus, after which an exhibition of moving instrumentation bridges the gap to another superbly stirring stanza full of feeling and fervour. This sets the scene for

enticingly cheery and expressive climactic chorus which proceeds to escort the proceedings to an appropriately touching terminus. The result is a remarkably uplifting and mellifluous mixture of folk and trad that’s sure to enchant anyone who listens to it. 23

Sorry to Bother You FILM


h yes, this is one that will get a reaction from people. Whether you love or hate Boots Riley's wild, surreal, satirical writing/directorial debut, and there may be few left on the fence, one should expect a degree of "WTF?!" in the overall takeaway. For example, WTF is it? Basically, it is a dark, absurdist comedy that takes on fear and greed-filled corporate culture, at least in the USA or a heightened altuniverse version of it, to be exact. The type of film where a scene of a naked woman being pelted with pig's blood fits right in. Race, class, capitalism and union rights are among the topics in the firing line here. The trailers may have pitched a raucous workplace comedy about telemarketing in corporate America, but, to the credit of the spoiler-free marketing, that is only half the package. Lakeith Stanfield makes a career-defining turn as the putupon Cassius "Cash" Green, whose uneasy job as a telemarketer takes a surprise turn for the best when his impressive, successful use of a "white voice" helps him to ascend the corporate ladder.

By Tommy McCormack

Before long, he finds himself tempted to sell out his fellow telemarketing employees, who protest for better labour conditions, to curry favour with the shallow, mysterious, cultlike higher-ups. He encounters an array of apparent allies/enemies along the way, all played by an array of comedically-talented actors, most notably Creed's Tessa Thompson as Cash's artsy girlfriend. Riley finds opportunities to insert social commentary, either blatantly or allegorically, into every scene as he tracks his 24

protagonist's turbulent arc. Everyday situations are shown in a heightened, often unnerving fashion, through visual gags that increasingly venture into surrealism and stark metaphor. The quick-fire pacing, on top of all that, means that the viewer's brain is often left reeling as it struggles to process what it is watching. A string of decent zingers, delivered with great comic timing, vitally helps. Admittedly, the plot about a worker who sells his soul for success is not original, and neither is the display of Orwellian, state-of-the-nation

themes. It is the sheer absurdity of each of Riley's scenes that lends the viewing experience a certain unpredictability and, with it, an energy. Moving into its second half, and particularly its third act, what started as a workplace comedy grows into something more grandiose, and reality itself is abandoned entirely in favour of something resembling a full-blown horror movie. For those who are going in fresh, it is hard to truly prepare for, let alone describe that jarring twist in the stakesraising, genre-bending third act. The world-building up until that

point makes sense in retrospect, but still, this will be the makeor-break moment for many viewers. They will either roll with Riley's artistic approach, assuming that they can understand it, or check out entirely. Hold on for a wilder ride- or get off entirely. Perhaps inevitably for a film this wild, it is somewhat scattershot in its messages and targets, often feeling like a comedian's unhinged rant about our messed-up world, one that combines incidental humour with queasy, sobering incite. Despite the rapid pace, it is 25

perhaps ten minutes too long and thus feels stretched thin, although that twist goes some way toward renewing viewers' attention. This is the definition of an acquired taste, like an odd cocktail blend of strong tonics, and even fans must admit it tastes funny- and strong. The Oakland-born filmmaker can still say that he made a distinctive mark on the cinematic landscape, at least through his colourful visual style and energised comedic sensibilities. Love him or hate him, he is one to watch. At least by head-doctors.



ormula is a funny thing. Adhere to it too often, such as in the case of the surprisingly numerous Rocky films, and people accuse you of being safe and unoriginal. Yet those same people, according to the box-office, can tend to continuously ask for it anyway, because deviating from it can be even more jarring. Such was the challenge faced by Ryan Coogler when making 2015's Creed, which may not have centred on Sylvester Stallone's iconic Rocky Balboa but was, in essence, the seventh instalment in that sports-drama franchise. This time the spotlight was on Michael B. Jordan's 'Adonis', the son of Rocky's late friend/rival Apollo Creed, while he was relegated to a supporting role, as a trainer and substitute father-figure. Grumbles about another formulaic boxing-movie plot were waylaid by the pleasant reception of that film's surprising strengths, namely a prioritisation of moving character-drama and fine performances, as well as a balanced stylistic blend of the old with the new. In another example of this franchise's oddly cyclical nature, there is now a Creed II (or Rocky VIII as some will understandably label it) that, as with Rocky II after Rocky, is sadly a step down from its predecessor due partially to not being helmed by

Creed II

By Tommy McCormack

the predecessor's better director, yet has enough to satisfy fans willing to root for its characters regardless. After Creed's surprising, franchise-reigniting success, the question became where to take the expected sequel. If you had asked most cinema-goers at the time, there really was only one answer, as far as dramatic hooks were concerned- the past coming back to haunt Adonis in the form of Dolph Lundgren's Ivan Drago, the icy antagonist who fatally knocked out his boxer father in Rocky IV. You could have written this yourself- Ivan has a similarly ruthless, physically intimidating boxer son, Viktor (Florian Munteanu), and wishes to restore the Drago family name to glory by having Viktor challenge Adonis in a media26

hyped fight. As every commentator character in the film makes repeatedly clear, in case you somehow miss it, this will be the ultimate fight on both a physical and personal level, given the bad blood between not only the Creed and Drago families but also between Rocky and Ivan. The headstrong Adonis promptly sets out to prepare for this confrontation and face all his remaining, still-unconquered inner demons in the process. One thankfully does not need to have seen any of the previous instalments to comprehend the plot, but those who have at least seen Creed and possess a decent understanding of (or have seen) Rocky's run of films will have that critical emotional investment needed to get the most out of this one. Otherwise,

Creed II is arguably in danger of being just another boxing movie. New director Steven Caple seems like a safe pair of hands compared to Coogler, but he does at least follow his predecessor's example by making this a grounded drama rooted in its characters' struggles. The plot may be built chiefly on the events of Rocky IV, yet is a million miles away from that film's (let's face it) dated, quintessential-'80's cheesiness (no-one dares mention Russian politics now, though...). It is somewhat jarring, though refreshing, to see IV's elements now replanted into a gritty drama setting, although there is no getting around the fact that the infamously wooden Lundgren, while not awful, tends to stick

out amidst an otherwise A-level cast. The director and writers work around this by keeping his character cold and reserved, an approach that also serves the similar acting limitations of fighter-turned-actor Munteanu. Their characters are not as fully-fleshed out as others, but some insight into their post1980s lives at least gives them some dimension. Elsewhere, there are plenty of good performances for the film to lean on, namely the everpowerful Jordan, who carries the film, and the similarly talented Tessa Thompson, whose love-interest role is not a thankless one. And Stallone, of course, could play Rocky in his sleep by now, though one does get the impression that, compared to his Oscarnominated turn last time around, his heart is not quite in it as much. Maybe it is time to hang up the gloves and let Jordan carry the franchise from here on. That does raise the question of where it could possibly go after this, thoughmore of the same can only be tolerated so many times. Where Caple does not measure up to Coogler (who is pre-occupied with the Black Panther franchise) is in his overall attempts to maintain the strengths of Creed at the same qualitative level. He seems to settle for playing it safe when it comes to plot and crowdpleasing content, the mixing of modern R'n'B with Bill Conti's 27

classic Rocky score being a good example of franchise oldmeets-new. The writing, when it comes to dialogue, characterisation and plot, is less inspired. Under Stallone's pen, it also has perhaps too many indulgent, nostalgic references. This sequel is roughly the same length as its predecessor, yet does not need to be, given that is has a slightly thinner story. There is an admirable prioritisation of quiet, slower, contemplative character moments over heightened bombast- which, when it arrives in the training and fighting scenes, does pack the requisite punch (yes, there is one of those montages). But this downtime does come close to being momentum-sapping filler, so do not expect some adrenalinefuelled thriller. At least the filmmakers, by the same token, have not forgotten the franchise's roots, which are those of grounded human drama rather than blockbuster spectacle- something the more OTT Rocky sequels tended to forget. If for nothing else, it is still hard not to cheer whenever the embattled underdog, in this case, Adonis, seemingly gets the upper hand on his opponent in the climactic match and that music starts playing- which is basically what we come for, is it not? Time, though, for the series to perhaps end before diminishing returns become the next opponent.