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EDITORIAL It’s been a fascinating month for music. As the dust settles from the YouTube debacle, we at Rokpool have taken great pride in the fact that our exclusive content has remained unscathed throughout. We’re very proud of being an alternative to the glut of mainstream videos and look forward to adding even more content as the months go by. And of course, it’s not just video that we delight in. Our new team of reporters have been out collecting interviews and photos from some of the greatest stars of the past 50 years. Classic features this month come from David Bowie & Nick Cave, and of course there is another trip into the seedy world of punk fanzines. Meanwhile our featured column launches Rokpool’s brand new series on classic recording studios, and we take an in-depth look at the Big Chill which has gone from being a festival, to a chain of bars, a multitude of events, record releases…. It’s

not even just a movement dos, surely? It goes to show Enjoy the magazine – and anymore – it’s a state of how far we’ve come since the site. mind! launch that we’re now seen as “experts” in our field, and Finally, for those who saw me we’ll continue making sure we on Sky News earlier this have the best expertise, the month, I’d just like to apolo- best content and the best gise for my lazy eye. I had no value for money. After all idea it had gotten that bad – we’re already giving you a but at least it did give me the magazine with pages that air of being a sort of fat Thom turn, for free. Chris Yorke, which must have Can’t be bad, eh? Editor—Rokmag something in the way of ku-

ROKMAG is the magazine of It is produced monthly, around the 15th of the month. All content is ©2009 Rokpool Ltd unless otherwise stated, and all reprinted content is used by permission. Editor In Chief: Chris Merriman Staff Writers: Angela Williams, Carly Page, Sarah Morton, Segun Ogensheye, Matt Fearon, Wendy Gabriel Design: Richard Moore All other contributors are name-checked in their byline. For any enquiries about Rokmag or Rokpool fm, or to contribute, please contact For any enquiries regarding Rokpool Ltd or, please contact We have worked diligently to ensure that the copyright on all material is respected. However, if you think we have got it wrong we will happily print a correction or retraction, and do anything we can to correct errors and omissions. Just contact us as above. 2

CONTENTS 4 - ONE TO WATCH The Phenomenal Handclap Band are breaking out and we love it.

5 - ROKMAG TOP 10’S From rock star’s real names to indie songs you can wear our Top 10’s have it all.

9—LIVE REVIEWS The Big Chill, Standon Calling, Jamie Cullum plus an interview with the Friendly Fires and more

16—ALBUM REVIEWS All the latest and greatest.

19—JOEY TEMPEST We catch up with Europe’s vocalist

20—ROLLING STONE MEMORIES Were you there? No? Rokmag were, relive it with us.

21—DAVID GRAY We catch up with the ‘White Ladder’ ace weeks before his first album release in 4 years.

23—FEATURED COLUMNIST We look back at the history of the Olympic studio

25—V FESTIVAL 2009 Rokmag was there, read all about it!!

27—ROKPOOL FM What’s hot and not at Rokpool FM

28—CLASSIC FEATURES Gay Music, David Bowie and Nick Cave




So there’s eight of them, okay. That’s a pretty mean feat in itself, especially right now, where they’re filling venues – but moreover, stages, with their tighter-than-an-RBSchairman brand of sixties flower power, nineties hiphop, and classic soul. There’s so much to love about these guys – from

their overpowering stage presence, “Hello London! You know, we’ve been going round your beautiful country this week, and playing people our music and telling them where they live”, to their sonic onslaught of Hammond keys, close harmonies and funky baselines. They have as much in common with west-coast trippiness as they do with east-coast pseudo rap (Yeah, think Peter Green

era Fleetwood Mac, jamming with Automato and JTQ). The band have been quite a long time in the making – their quest for perfection has meant that only now are they really starting to release their stunning, almost evangelical jams to an unsuspecting world. Take their cur-

something, very genuinely, there for everyone, regardless of their musical persuasion.

rent single “15 to 20” (out now, Tummy Touch) as an example of how diverse they can be – twin girlie spoken vocals, blacksploitation sound and Ralph Myerz drums and a video shot from eight different band members perspectives of the same day. It’s a cavalcade of noise that is set to take the world by storm, not least of all for the simple reason that there’s

definitely worth the wait. They’ll be back in the UK very quickly, and we suggest you beg, borrow or steal to see them. End of.

I normally end up with a “band of the year”, and it doesn’t normally take me to September to find it, but The Phenomenal Handclap Band are most

http:// phenomenalhandclap The new single “15 to 20” is out now on Tummy Touch 4


5) Meat Loaf: For a man with the larger than life voice,

Never mind the classic rumours that Marilyn once appeared in The Wonder Years, it's more hilarious to know that the self proclaimed 'antichrist superstar' was once name Brian Warner! How very...evil.

personality and er, figure, plain old Marvin Lee Aday would never suffice. Meat Loaf is every inch the theatrical master - and being named after an ancient ground beef dish has done nothing to dent his massive popularity.

4) George Michael: Born of Greek heritage, it’s not un-

usual to find the former Wham singer was labelled with a typically authentic Greek name. But perhaps the moniker Georgios Kyriacos Panayiotou was a little too much of a 9) Bonnie Tyler: Perhaps having the sort of name you'd tongue twister for the Great British public - try saying associate with a middle aged school teacher wasn't going that in a Careless Whisper! to do Bonnie's blossoming music career much good. The Total Eclispe of the Heart songstress may have the lungs 3) Tina Turner: Even the alliteration in her name sounds to pull off the big notes, but could we have taken her seri- sexy and it's typical of the Queen of Rock n Roll to go for ously as Mrs Gaynor Hopkins? No Ma'am! raunchy and racy over plain old Ana Mae Bullock. In fact there's nothing terribly sexy about that name full stop. 8) Sid Vicious: Ok, so he was never going to have the name 'Vicious' on his birth certificate, but it's still slightly 2) Freddie Mercury: For the ultimate front man, only the disappointing to find a man as iconic and controversial as ultimate stage name will do. And it seems Farrokh Bulsara the tragic Sex Pistol was actually christened plain old John didn't quite have the catchy, theatrical ring to it that Simon Ritchie - and he was raised in Tunbridge Wells to Freddie Mercury had. He will rock you indeed. boot. 1) Les Paul: Could you imagine walking into your local 7) Elvis Costello: Costello's image, that of the Buddy music shop, browsing the beautifully crafted guitars, wantHolly-esque rock n roll muso, was never going to flourish ing only the very under the title of Mr Declan McManus. So naturally the best and finally set55 year old Brit rocker stole the King's first name and let tling on a top of the the adoration of millions follow. Easy! range, brand spanking new Lester Wil6) Rob Zombie: It's fair to say he would never have been liam Polfuss? No, taken as seriously as a film director or successful musician neither can we. had Zombie kept his birth name of Robert Bartleh Cum- Good move Les. mings. In fact, Zombie seems much more fitting, given that his albums include the rather lovely sounding La Sexorcisto: Devil Music Voume 1 and the delightful Soul Crusher. 5

TOP 10 ROCK STAR FILM CAMEOS 10. Jack White – ‘Walk Hard: The Dewey Cox Story’ From Jack Black, to Jack White, who is seen taking up the mantle of Elvis Presley in this 2007 comedy. The White Stripes front man provides a dead-on performance, even grasping Presley’s often inaudible mumble, love of “kur-a-tay” and a massive entourage supported ego. The estranged White shows his funny side, a side noone knew existed, until now. 9. Jack Black – ‘Anchorman: The Legend of Ron Burgundy’ Tenacious D’s Jack Black stars in this cult comedy from 2004 as a vengeful biker who gets hit with Will Ferrell’s flying burito, and proceeds to kick his dog from a bridge. A heartfelt, hilarious and classic film moment, that could not be missed from this list. 8. Dave Grohl, Meatloaf and Dio – ‘Tenacious D: The Pick of Destiny’ This film is already rock and roll enough, but goes one step further, aiding the help of Dave Grohl, Meat Loaf and Dio. Meatloaf plays Jack Black’s rock-hating Dad (obviously), Grohl plays Beelzeboss aka. The Devil and Dio plays, well, Dio. It’s a fantastic performance from a rocking cast. 7. Jon Bon Jovi – ‘U-571’This has to be my favourite cameo on the list, as it is sheer rockin’ genius. One minute Jon’s minding his own business on a ship, the next minute those pesky Germans go and sweep him overboard and he drowns to death. It shouldn’t happen to somebody who’s seen a million faces and rocked them all. 6. David Bowie – ‘Zoolander’ Who better to judge an intense walk-off between Ben Stiller and Owen Wilson than ultra-hip and glamorous David Bowie? It’s easily the best scene in the film, seeing bowie accompanied by ‘cool dude’ Billy Zane. 5. Twisted Sister – ‘Pee Wee’s Big Adventure’ Do I really need to say any more? No, but I will. Twisted Sister (flanked by lovely ladies) jack a car and play ‘Burn In Hell’ while Pee Wee Herman whizzes past on a bicycle. The great thing is, it has no connection to the film, and to be truthful, there is no need for the appearance to feature at all. Despite this, it is absolutely brilliant. 4. Bruce Springsteen, “High Fidelity” (2000) Rob Gordon (John Cusack) is obsessed with music and he can’t seem to take the next step in his adult life. In the movie, Rob has a conversation in his head out loud with the Boss, Bruce Springsteed of course, who shows up strumming a guitar in the studio, to offer some sage advice.. “Thanks, Boss,” he says, saluting after it’s over. It kind of it, but shouldn’t be, as funny as it sounds 3. Billy Idol – The Wedding Singer How many washed-up 80s rockers get to save the day in a hugely popular romantic comedy? Since Adam Sandler’s ‘The Wedding Singer’ takes place in 1985 but was filmed in 1998, that means Billy Idol was 43 years old playing himself at 29 when he showed up on that fateful plane ride with Sandler and Drew Barrymore. This appearance alone probably upped his nostalgic ‘cool’ factor for a good 5 years or so. 2. Alice Cooper – ‘Wayne’s World’ Cooper’s appearance in this classic film comes at a point when the devious Rob Lowe gives Wayne and Garth backstage passes to Cooper’s show. Cooper is decked out in leather and black eye make-up, of course, and drops Native American knowledge on the boys prompting them to respond “we are not worthy.” Hilarious. 1. Keith Richards – Pirates of The Carribean This might be a controversial top choice, but you have to give it up to Keith Richards, who plays the awesome character of Captain Teague Sparrow, Johnny Depps dad. Aww. Though you would think his appearance would be more comedic (it’s actually quite dramatic), it’s still bloody good. CP 6

TOP 10 INDIE SONGS YOU CAN WEAR 10) The View - Same Jeans This top 5 single for the Dundee band is a catchy number that is likely to fill a dancefloor in any indie club. Despite it being a delightful jangle climaxing in a satisfying thrash, their accents are SO thick that the lyrics are often inaudible. Off putting. 9) Weezer - The Sweater Song Along with the release of this song as the band's debut single came the filming of the video to go with it. Set to be done in one shot, the band did over 20 takes, and soon grew tired of taking it seriously, ending in the final cuts comical content. Also, a dog defecated on the bass pedal of the drum kit. Yummy. 8) Foals - Red Socks Pugie Frontman Yannis Philippakis has recently cited marijuana and whiskey as catalysts in creating music for Oxford band Foals. He's also learning how to play the electric saw. Go figure. 7) Little Boots - Well, anything...! 25 year old Victoria Hesketh takes her stage name from the film Caligula (Latin for 'Little Boot'). She originally auditioned for the talent show Pop Idol, but has since gone on to better things, with a top 5 debut album, a top 10 single and boundless hype, praise and award. 6) Crystal Castles - Through The Hosiery After opening their Glasto' 08 set with this electrical storm of noise, the Canadian duo nearly got shut off after vocalist Alice Glass's live antics including rig climbing and stage diving began to irritate the festival crew. They went on to realise that allowing the band to finish would be the safest option, due to the crowd's disapproval! 5) Arctic Monkeys - Dancing Shoes Arguably one of the most talked about bands of today, the Sheffield quartet wittily word the turmoil of being out on the pull on this fantastic album track. 4) The Smiths - Hand In Glove Although being the band's debut single in 1983, the recording process still came to a surprisingly small fee of ÂŁ250. Since the band's split, co-writer Johnny Marr has become a full time member of The Cribs. 3) Dirty Pretty Things - Blood On My Shoes Before sharing the name with the 2002 drama film, ex-Libertine Carl Barat and co performed under the title 'The Bearded Clam Lovers Experience". The story behind it is probably best kept to themselves. 2) The Maccabees - About Your Dress Preparing to embark on another tour in aid of second album Wall Of Arms, The Maccabees shouldn't shy from keeping this two-and-a-bit minute chunk of lovely pop melody in their set. 1) The Horrors - Gloves This 2007 single is a jagged shoegaze tale for the obscurely brilliant Southenders, telling how frontman Faris Badwan became obsessed with collecting lost gloves.... right. MF 7

TOP 10 SONGS YOU CAN EAT 10) Kate Nash - Pumpkin Soup Pumpkin Soup was Nash's fourth single, the third of which featured on her debut. Kate claims that the title has no correlation to the lyrics and was merely a working title she randomly created which stuck, despite her label's disapproval. 9) Coldplay - Strawberry Swing Frontman Chris Martin cites his mothers roots in Zimbabwe and a Delakota song as inspiration for this cheerful single. In the event of similarities, it's doubtful that Delakota will have the audacity to go to court though... and his mum's probably just too damn nice. 8) Jack Johnson - Banana Pancakes Originally written by Indian singer Alanna Palladino, Johnson has added his trademark Hawaiian surf twist to turn this into 3 minutes of relaxing by the waves. 7) The Clash - Koka Kola Koka Kola was originally released on the band's legendary album London Calling, which has since been done up and put out as an anniversary package. A rough, rehearsal recording named 'Koka Kola, Advertising & Kokaine' sees the light of day this time round, and is a gem for diehard fans. 6) Red Hot Chili Peppers - well.... anything! These LA funk legends have been on indefinite hiatus since promoting their double album Stadium Arcadium, and have since pursued other projects. Drummer Chad Smith is involved in bizarrely named supergroup Chickenfoot. It doesn't beat the bizarre line up of Thom Yorke's new band, featuring Flea on bass. It might work. 5) Bell X1 - Eve, The Apple Of My Eye Prior to their current line up, Bell X1 were known as

Juniper, featuring current solo artist Damien Rice as frontman. The band split with Rice, due to various feuds including the choice of packaging their record would be released in. Damien 'Diva' Rice wished it recycled, the others didn't care. Ridiculous. 4) Jesus & Mary Chain - Just Like Honey Formed back in 1983, the band are fronted by two brothers. Notorious for violence at their live shows, as well as often sexually ambiguous lyrics, the band are hardly... nice. You'd bet their mother is proud of them. 3) Radiohead - Bangers & Mash Alongside the 'pay-whatever-you-like' release of In Rainbows was the deluxe disc version, which did have a fixed price tag. Featuring tracks like Bangers & Mash, this is money well spent. 2) Brand New - Fork & Knife This download-only single bridged the gap for fans between their previous work and new album Daisy. As a piano driven track, it fails to foreshadow the fuzzy chaos of the fantastic follow up, but is still brilliant all the same. 1) Art Brut - DC Comics & Chocolate Milkshake Art Brut have yet to lose their pop humour shine, with another tale from Eddie Argos that will effortlessly leave you in giggles, sharing how he still finds comfort in his childhood traits of reading comics. To this day he writes his own - 'The Weekly Adventures of Lex Steele'... awesome. MF


LIVE REVIEWS THE BIG CHILL, EASTNOR CASTLE AUGUST 2009 after a day of drinking cider all day, mind), the mist rolling along the river at night reflecting the twinkling lights of It’s oft said that The Big Chill is the paper lanterns and fire poi. the last festival that you go to. Plus there’s a huge wicker And it’s easy to see why you woman (who doesn’t last to the might think that. The music is end of Sunday, naturally) and a just that bit more considered. huge “Hollywood” style sign on The atmosphere is far less hectic the hillside that you can sit un(even at the heights of the der, and graffiti to your hearts headliners), and the whole event content. is geared up towards having “one last hoorah”, “baby’s first By day, the festival is a world on festival” or somewhere inbenew discoveries and, for want of tween. But enough generalities, a better term, pootling about. because The Big Chill is one of Whether you want to learn the main highlights of the festi- some circus skills, have a masval calendar, bar none. sage for “anything you want to give, you know, say, a tenner”, take a wander round the myriad of stalls and food vendors, or just sit in the sunshine and bask. People keep saying, over and over, that the sun always shines at the Big Chill. Musically, it tends to be a voyage of discovery, For a start, the settings are with a wealth of bands that you stone-cold beautiful. With the might have heard of, might be castle itself in the distance, the vaguely aware of, or just fit the rolling hills dividing the arena vibe perfectly. Highlights during from the camp-sites (not a boon the day include “Music from The

Penguin Café”, a tribute act from the son of founder Simon Jeffes, who rerecreate the sublime original compositions to perfection as the sun beats down. “The Invisible” show why their “TV On The Radio”esque jazz-rock has been hotly touted. And there are a huge array of other acts that, whether you know them or not, feel like old friends. Rumours surface at one point of woman who can beatbox with her buttocks, up at the Circus Tent. This promises far more than it delivers. The comedy tent proves similarly disappointing. The stellar line-up (Noel Fielding, Russell Howard and Dylan Moran, to name but three) attracts a huge number of visitors, and despite being twice the size of last year’s tent, is hopelessly undersized, with the added frustration that being even a gnat’s wing outside the tent leaves you completely unable to hear anything. A couple of speakers on the way in would have worked wonders. By night, and probably with the benefit of a hike back to camp for a jumper, the festival really comes alive in a whole new way. Thumping baselines are the order of the day, but in an inclusive, rather than intrusive way. This is the Big Chill after all. Basement Jaxx make the ground shake

as even the most hardened sceptics swing violently to the continuing majesty of one of the finest live acts on the circuit. Orbital, persuaded out of retirement for this very gig, blow everyone away with a collection that proves that “you know more Orbital that you think you do”. You don’t need the drugs. The music is psychotropic within itself. David Byrne surprises everyone who perhaps was a little sceptical of his appropriateness to the venue with a collection spanning his career from Talking Heads to Xpress-2, and electrifies the main stage, whilst Gong wig out the oldies down the field. And then of course there’s Mr. Scruff – the honorary patron of The Big Chill. This year he’s been promoted to his own stage, after a fashion. His love of tea has spilled out into a full wholesale operation, with speciality teabags for sale, and pots of the


LIVE REVIEWS KATRINA LARKIN, BIG CHILL CO-FOUNDER INTERVIEWED FOR ROKMAG Segun Murray Ogunsheye catches up with the co-founder of The Big Chill festival at The Big Chill House in London.

Segun: So what was the initial inspiration for the Big Chill? Katrina: It was sixteen years ago now that Pete Lawrence and myself started the Big Chill. Pete along with some other friends was running these sort of all night club sessions/dance sessions called club together and of course I was roped in as the girlfriend to help out. We thought they were just great fun taking over warehouses and running parties but we both wanted to do something quite different and we had some other friends that were running these ambient club nights that were all about visuals and just chilling out. So we thought we could marry our different things that were going on and come up with the idea of the Big Chill. It was a Sunday afternoon club, we started it in the union chapel in Islington just up the road from this venue (The Big Chill House, Kings Cross) and we had one floor. I baked all the cakes, it was very DIY, beer over the trestle tables, I had lots of friends who came and painted banners and put them on the walls I had other friends who gave massages, monkey pilot DJ’d, Pete DJ’d (Leggobeast). I kind of like put all the bits together and we had a huge movie screen and mattresses on the floor, it was kind of

like a Sunday afternoon happening and there were no age limits, everybody from all walks of life came in and hung out, drank beer, ate cake, had cups of tea and listened to really good music. What we did was collect everybody’s email address, sorry not email, postal address then, who came and we made some really unique flyers and sent them out, we posted them to everyone and they came next month and it kind of went from strength to strength and it took us by surprise I guess and because union chapel had lots of different rooms after 4 or 5 events we had the whole venue and were having a thousand people there every Sunday afternoon. About a year later we had a fire inspection and they were like “what is going on here” and we said “were just having a Big Chill” but we had to move, that was kind pretty much the very beginning of The Big Chill”. S: So when did it transcend from a relatively small venue into a festival? K: Well while we were at the union chapel we went away camping at the black mountains and we stayed at this beautiful site about ten miles from Hay-on-Wye in Hereford and we were lying there at night under the stars, camping and thought god it’d be great to come back with some friends, but of course us being us we rented a marquis from

friends of ours who were a travelling circus, another friend who was running a café, we got him this beautiful Indian tent and we told the farmer that we were gonna bring about 200 people but we turned up with about 700 odd people and that was the first festival event.

its in Eastnor and it’s a deer park and we think its beautiful” and we all went down and had a look and we were quite blown away it had lakes and woods and it was in this valley, the beautiful thing was when you stood in that valley you couldn’t see out of it and then it became Big Chill land.

S: So when did the festival events it S: Where do you think the Big Chill really start to take off? is today? K: It never really started to explode like in any one year like ‘oh my gosh’, like one year we tried to do it for 5 thousand, cause you know, we were a bit stupid and full of enthusiasm and raring to go and completely in love with what we were doing. So we went to Norfolk and everything went wrong that year but that’s a whole other interview probably in itself cause everything went kind of wrong. So not to long after that there was a big benefit gig for us at Brixton Academy, which is when we decided to keep going. The next year we did it small for a thousand people a thing called the enchanted garden, which is now where end of the road is and we grew from there back up to 5 thousand. We did that over 3 to 4 years rather than rushing it like we had before. Then we moved to Lulworth, which is where the Camp Bestival is now and we had a really good year there but the site wasn’t quite right. Then somebody phoned us up and said “I’ve got a castle and

K: Probably and I’m not just saying this, the event just gone, was absolutely our best event, sometimes you don’t always get it right cause you know there are so many different elements with the Big Chill festival its not just like a gig or putting on a couple of stages or giving people a theme it has so many different elements as you can see from all the pictures behind you, from giant 13ft wooden sculptures that we set fire to on Sunday to making a zombie movie with film four on the Thursday, just so many things go on that I think we are in a really exciting space that we’ve just now, after 15 year managed to get a really good creative team who are able to deliver these things and we know ourselves, we know ourselves well, its kind of like we grown up from our teenage years were not silly kids anymore and were better at making the right decisions and understanding what makes a really damn good party. 10

LIVE REVIEWS at the moment and we just have to take it a release at a time, we’re releasing Bruce Bickerton’s album at the moment. We really don’t have K: The label has always been there to achieve anything with the label if in some shape or form because we anything comes along that’s good are about music essentially, and we and we want to get behind it we are also not just about big names, will and that’s a kind of fortunate position to be in because it’s not our it’s like somebody said to us recently, your booking bigger names main business it’s something we do and we said were not booking big- because we want to support some ger names were just booking more people and have a bond with them. of our record collection and were S: How important is the team elehaving a whale of a time doing it, so ment in regards to the big chill’s the label has always existed. With success? the bars we met up with the Canta- K: It has to be a team thing cause loupe group and formed a partner- it’s so big. I mean firstly we never ship, eight maybe nine years ago, would have developed if we didn’t and they run bars and that’s what have these creative minds inputting they are really good at and they ran and evolving cause its really imporbars at our festivals until it got tant to get fresh blood in. It is very really big. It just made sense, they much about a team because of the had been offered a venue in Brick people that come to the event. Lane and they said “this would be a That’s what made it this year they really good space for the Big Chill” were just the most fantastic bunch and got us in and I did lots of décor and I was sitting on a bus listening bits and designed bits to make it Big to two girls a couple of days afterChillish and the boys do the prowards and they were going “ gramming for the music and it’s Awww, did you go to the Big Chill great cause it’s by the markets and and they were going where do they there is such a scene now in Brick get those people from weren’t they Lane its very Big Chill. like the best people to hang out The Kings Cross venue came up and with and they talked about how I walked in the door and fell in love much fun they’d had. with the space. S: And that must be such a good feeling? S: I was listening to some of the acts on your label and I was won- K: Exactly and that’s what its all dering what direction you wanted about we come from a very long with the Big Chill label? lined tradition of celebrating harvest K: The label is very much up in the and pagan celebrations and bringing air at the moment, in fact I’m going people together we’ve lost our vilto a label meeting after this but its lage squares where we used to very much changing times for labels come together and celebrate differS: Was it always your plan to branch out into different avenues you know the record label, the bar and so on?

ent things but now we’ve got festi- strong musically and from a provals. gramming sense it balances out S: So how does big chill manage to around the site you know not evekeep growing despite the fact you rybody likes the same type of music. never seem to have really big acts? When you’re trying to get people of a different demographic but of a K: Well It’s not so much that we similar sense of humour, kind of don’t have big acts but I suppose we don’t do this thing of saying like thing. “Big Chill this year Orbital, Basement Jaxx and then shut up about the rest, actually doing our marketing is really difficult because there are so many elements and you don’t want it to be the bigger names at the top it’s like a modern day village fait gone a bit wrong.

What we are not going for is everybody that likes dance music, were going for people that are looking for mischief, are open to new ideas and are all into respecting the countryside and having a good time together.

we’re always out, we’re always looking for fresh things, we’ve just come from talking to this girl Polly I work with and we’ve just come up with this really crazy idea.

S: And how have you managed to translate that?

S: So would you say that the big S: So how have you maintained that chill is a complete reflection of you niche in the market over the years and your circle of friends? or that uniqueness as a festival? K: Definitely, definitely cause It did K: I suppose the festival is a bit of a come out of circle of friends so natural extension of us in a sense, definitely.

K: I suppose its just because we do it because we love it, it’s a passion and when you spend a lot of time S: Could you give us any insight into dealing with people you do work a that idea? lot of silly hours putting on festivals and you know we know each others K: Well we’ll see if we can deliver first, we have a lot of crazy ideas its good and bad habits as well un-like people that work nine to five’s. So about being fluid and not having rules and allowing people to come the chilledness comes from being comfortable together and in what forward with their ideas, which is we’ve been doing for 16 years. something like Chillies Spaces, which is something that has existed S: So tell me a little bit about the at the big chill for a long time where mini festival going on this weekend? people can apply to have a space (Sept 11- 13th 2009) and we’ll build it or help them build K: As Big Chillers we like any opporit. tunity to get together, you can’t S: What do you look for in acts that say every weekend is a mini festival perform at the Big Chill? but because we have two bars close together one in Brick lane and the K: I suppose the obvious answer one hear in Kings Cross. something that we think is really 11

LIVE REVIEWS It’s an opportunity to get some known acts from the festival down to our venues and also people from outside London to come down and have enough going on for them over the weekend too and it ties in with Brick Lane festival as well. S: So how hands on are you personally in relation to the different aspects of the festival? K: The mini festival or the festival? S: Both K: At the festival its like I live and breath it its like I have an umbilical attached between me and that valley, I like to know everything that’s going on and I do know everything that’s going on but you need to, in order to push something that size along. The mini festival is very much the boys, its Shep (Jon Shepperd) who does the bookings here who’s kind of put it together he’s the music programmer for the bars and he also does the bars at the festival and he’s been a good close friend of mine for years and he really leads on that and he really takes those elements out of the festival into the two venues. S: So you’ve made it to 15 years, so where do you want to see the Big Chill go 5 to 10 years down the line? You’ve come to a point where you’re so big. K: After this years festival I was like how do we top this, it was like incredible and I’m not just saying that because I’ve been to a lot of festivals, it was an incredible event and everything worked and I don’t know how I’m going to top that but if you know me every time I’m set a challenge it just sets the stakes higher and I will go out there to make it better. To be honest I just take it year by year it’s too big to think long term as in 5 to 10 years down the line. I just take it a year at a time I very much feed off what is just happening, what’s happening creatively around me and what we can feed into and what benefits all parties. My mind would explode if I were trying to think beyond next summer at the moment, I’m now just bracing myself for the roller coaster ride that’s going to take me from this point to the festival in the summer. You can’t really have a long-term business plan with festivals because they are a very rocky business; we are here by the skin of our teeth really. S: Ok I think that’s about it, thank you very much for your time. K: Oh no, thank you and make sure you come to the festival next year. S: Definitely.

THE BIG CHILL MINI FESTIVAL THE BIG CHILL MINI FEST WAS HELD OVER THE WEEKEND OF SEPTEMBER 11-13, AND WAS A GOOD EXCUSE FOR THE PEOPLE AT BIG CHILL, TO CALL ON A LINEUP OF THEIR REGULAR DJ’S/PERFORMERS (SUCH AS MR SCRUFF AND LEGGOBEAST) FROM THE MAIN FESTIVAL, TO PLAY DJ SETS AT THE BIG CHILL BAR (BRICK LANE) AND THE BIG CHILL HOUSE (KINGS CROSS). THE BIG CHILL BAR (BRICK LANE) The Big Chill bar is situated in a great location, specifically Dray Walk, that is without doubt a cultural hotspot with trendy clothes shops, quirky food stands and great market stalls never too far away. On entering the bar the most notable feature is the outdoor area covered by a large canapé that at least a third of the crowd on the night were gathered for a socialise, drink in one hand cigarette in the other. The bar inside was not too far removed from your regular bar, although the décor definitely helps to create a warm, relaxed and chilled vibe. The music on the night was varied from old school R’n’B/Soul to more modern house. It is definitely a venue that you take your out of town friends, if you want to demonstrate your ‘Coolness’.

THE BIG CHILL HOUSE The Big Chill House is definitely the more aesthetically pleasing of the two venues and seems to embody what the Big Chill is all about. The Big Chill house is probably as close to as cool as bars get, from the fibreglass bar to the Tiki styled roof terrace, there is some real thought put into the place. A particularly nice touch is the naming of the different chill out zones such as the Love inn, Naxos Nook and Lulworth Lounge, which are all great places to chill in the venue. For those who wanted to hit the dance floor at the back of the venue, Smoove and friends provided the music on the night, playing the best in 70’s and 80’s funk and soul.

The crowd at both Big Chill’s (Bar and House) are endemic of the main festival, a diverse group of people just looking to have a good time and Listen to some good music, whether you want to dance or just chill out, both venues deliver those options on a platter. (SO)


LIVE REVIEWS STANDON CALLING If you’re asking the question, where in the world might you see a gang of public school girls jovially socialising with a fifty year old Rastafarian and some how it seeming, well! Cool! If you’re asking me the question, where in the world can you party in an open-air barn that is decked out it in the bourgeoisie styling of an elite London club, without the pretention? If you’re asking where in the world left me with Tipi envy? (TiPi: A tent popularized by Native Americans). The answer is simple. STANDON CALLING MUSIC FESTIVAL. My Standon Calling story begins with my arrival in the east Hertfordshire town of Bishops Stortford. I arrived at the station about mid-day, having been instructed that this was one of the nearest stations to Standon. The weather was gloomy but it wasn’t raining, so my spirits were high, I was excited. All I had to do now was figure out how to actually get to Standon-Calling. After about 10 seconds of looking at my map, trying to figure out where this damned shuttle bus was running from and after speaking to two people, neither of which even knew what Standon-Calling was. I realised that getting to Standon was not going be that easy. Nevertheless I strolled blindly into this small market town that had all the

usual high street shops W.H Smith, Clinton cards etc. Halfway through the town I bumped into an old friend of mine who lives literally 200 metres from where I live and he was working at the festival. A brief conversation later, about “the Whip” being good and “Ladytron” being average on the main stage at Standon, I found myself at the town’s Tourist Information centre. Once inside the Tourist Information centre I was swiftly informed, by a female member of staff that: “There is no shuttle bus and standard busses run every two hours to Standon”. WOW. I couldn’t believe it; bare in mind it was a Saturday. For someone that has only ever really lived in the city (Glasgow and London), anything other than doorto-door travel is a struggle. I was being overdramatic for sure, once I had gotten over my city slicker impatience, I looked up at the clock and realised I only had a forty minute wait. ‘Maybe I’ll explore Bishops Stortford’ I said to myself. Forty minutes later I discovered that there was nothing to discover in Bishops Stortford and I was on the 700 bus to Standon village. The bus dropped me in the middle of nowhere, the only sign of civilisation was a few houses and a single pub, it was like being in the American mid-west, the sort of places you see in a horror movie, where people just vanish, never to be seen again. Once I’d realised I was being overdramatic again, I

noticed a bright yellow sign in the distance, I prayed that it said “Standon Calling” with an arrow underneath it pointing me in the right direction. My prayers were answered. I had arrived.

stage and other locations from the Galileo tent to the Barbarella barn ( a sort of night club) were well placed, each with enough room to achieve the desired affect on it’s own without being imposing on the other.

A short walk from the bus and I was at the top of a hill that overlooked the festival, just as I started to walk down the hill I over heard someone say, “have you seen any press” I said “I’m press”, so I jumped on his golf buggy and was escorted to the press office.

The Outer-space theme they had for this year’s event was not entirely apparent, aside from the back to the future Delorean lodged in the mud and the Doctor who style police box, both in the middle of the site. The toilets were accommodating, by festival standards, asking The first thing I did once inside the users to pour a cup of sawdust festival was to explore every stage, over waste helps with air pollution, room, barn, nook and cranny. One apparently. quick sweep of the place was all it took for me to start saying to my- The people self “I like this place”. The punters/people at StandonCalling varied but if I had to make a ‘Vibe’ is a word often used when judgement on the crowd generally, describing a festival, you here it has to be said there were a lot of statements like “the vibe’s great well pruned, middle class girls with man” or “It’s such a good vibe”. their Rayban Wayfarer’s, Barbour This left me asking myself “what is wax cotton jackets and designer the ‘vibe’ in the context of a festi- wellington boots. This didn’t affect val?” I came to the decision it boiled the experience, there was also down to three things: enough dreadlocks and people The site dressed up as cone heads for the The people vibe to be pretty relaxed especially The music during the day, the crowd weren’t exactly climbing tree’s trying to The site touch the moon. A fairly high level So lets start with the site. The of decorum was present at all Hertfordshire countryside was truly times, I wouldn’t be surprised if a beautiful site to behold, with the there was not one piece of trouble site being perfectly situated to the whole three days. catch a great view of the farmland in all its splendour. The different stages from main stage to Apollo 13

LIVE REVIEWS The music The organiser Alex Trenchard definitely hit the spot with the music, with highlights during the day Saturday being: the Golden Silvers (main stage) and Paloma Faith (Apollo stage). Although, if truth be told the festival really got going when the headlining act The Friendly Fires came on stage at 11pm. I thought they were the highlight of the festival and they’re definitely my tip for the ‘Mercury music prize’. Once The Friendly Fires set was finished it was time to make your choice of “dance the night away” destination. Spending my time in a crammed Tipi dancing to 50’s and 60’s R ‘n’ B, the finest from the Atlantic records back catalogue was exhilarating. The other three hotspots Barbarella, Galileo and the Apollo tent, played dance floor music through the night until at least 6 am. Standon calling is often described as a boutique festival and that is the perfect adjective to describe it. It’s a cool and fashionable festival that is not really like any other; there was not a gang of jockish type guys racing to see who can throw up their alcohol and food first. Although after the potential shown this year, they may well have that problem next year. There was not any sign of commercialisation apart from Sunday headliner Tony Christie. If you’re looking for good music from up and coming bands and a

FRIENDLY FIRES INTERVIEW This interview was conducted at the Standon Calling festival, On Saturday 1st August by Segun Murray Ogunsheye. Lead singer Ed Macfarlane was not present. Segun: How do you feel about the vibe at Standon so far? Edd: Well considering the weather, the crowd is surprisingly buoyant. I think there are a lot of regulars. Jack: Looking at the crowd moral definitely seems high, you can’t let the weather get in the way if your gonna enjoy a festival. People seem to have made a huge effort with what they are wearing, with the whole Space theme and all. Edd: You never know what the weather will do. Spirits seem high in Standon.

S: How do you feel about the album at this stage, almost a year after it was released? E: It’s in the same position in the chart as when it first came out. J: Oh yeeeah. [The chart position at the time was no 38.] E: It’s kind of come full circle and with any luck it might get a bit better. I feel really chuffed that it’s not only as relevant but maybe even more so. I think people are still going out there and discovering it, people are still listening to it and we are getting more S: I can hear from listening to your and more people turning up to our music that there are a lot of influences concerts. from different types of music. I hear everything from Funk to Samba and S: How do you feel about the Mercury obviously electro. Were you intending music prize nomination? to mix what could be seen as a bit E: Pretty damn chuffed, its incredible. more abstract musically with pop We put it out on the cusp of when the music? last Mercury’s kind of finished. So we J: Yeah totally, that’s exactly what it is. thought, it’s in that window where no We try to write pop songs that have one will remember it and that’ll be that. influences from odder bits of music J: I think the dinner is gonna be a lot of that you don’t generally hear on the fun. We obviously toured with Florence radio an awful lot. We try and keep it and the machines and Glasvegas. They interesting for the listener. That’s a are good fun I like them. really bland answer, but it’s true. E: On the same label as The Horrors so E: We’ve got pretty broad taste, I it should be interesting. think! I’d like to think broader than J: personally if we couldn’t win it then most as well. I think when your kind of I’d like to see the Bat for lashes win, I picking and choosing, you have an think. almost ADD mindset of picking whatever it is you are listening to there and S: This isn’t the first time you have then. As a result that can be heard in performed at Standon Calling, is it? your music. E: No we performed hear two years

ago on the main stage and It was really fun, so I expect it to be just as good today. The weather was a lot better but hopefully it will have cleared up by the time we get on stage tonight.

E: Well Ed (lead singer) used a programme called logic at college, so we had a copy of that on our laptop and literally one mic.

S: What is it like being signed to XL recordings? S: I’ve heard stories of how you reE: Well not so good (laughs) they got corded the new album, could you shed robbed today. So I don’t know. some light on that a little bit? J: Ha-Ha, really? Wow. Obviously XL is E: Well we recorded 8 of the 10 songs a great label with one of the most that are on the album in our garage. interesting rosters around and a presThe reason for that is because there tigious history at this point. We’re was only one decent studio locally but more than happy on the Label. everything came out of sounding really s **t. So we decided we could do bet- S: What can we expect from your ter on our own. headlining performance tonight? J: We had more sense, than money. J: We try to really perform. What I Make sure you right that in your arti- mean is, we’ve watched load of great cle. bands that just stand there, playing their instruments. S: Don’t worry, I will. That’s interesting E: Yeah, we try and bring a lot of enyou have to have a lot of technical ergy to our performance. knowledge to be able to record an (SO) album that well.


LIVE REVIEWS JAMIE CULLUM ALBUM LAUNCH inside the building already, never- Five minutes later Jamie and his choice Leslie Bricusse’s “If I ruled theless I waited in the queue only band were on stage performing the world” popularized by Tony THE TABERNACLE, NOTTING HILL to find my name wasn’t on the list, “Please don’t stop the music” a Bennett alongside original material I arrived at the tabernacle in Notting Hill on a warm September evening, while the sun glistened through the Georgian housing and the large maple trees in the adjacent park, the kind of trees that have those little flying helicopter fruits that fall from the branches in autumn. I was there for the Jamie Cullum album launch, as I walked through the arched gates and along the path into the red brick, grade II listed building I realised that I had arrived a little prematurely as they were still preparing the venue. I decided I would come back later after being plagued by my “I don’t wanna be here first” Phobia or possibly it was my fashionablylateitis either way I left to see if they had any drumsticks at the local corner shop. I came back half an hour later to discover a huge queue by the arched gate, this was a liiiiiittle bit frustrating considering I had been

well it was, but the guy with my list hadn’t arrived yet. I stood outside talking with two other girls who were on the same list as me, one of which was a petit black girl who reminded me of a black Katherine Hepburn 1930’s get up et al, she was horrified that she had not been let in immediately but to be honest, I felt her pain, we were standing there like groupies who were pretending we were on the list. After about ten minutes of waiting we got in, we arrived in the bar area of the venue to find, hmmmm, how can I put this, a very Notting Hill crowd, I’ll leave you to make your own judgement on what that is. After one complimentary drink we were stewarded up the stairs to the room that Jamie would be performing, which was a small but visually pleasing space, kind of like a small version of the Roundhouse in Camden with wooden beams stretching from walls to the ceiling. Less than

Rhianna cover. Once the song finished, Jamie addressed the crowd with a down to earth likeability that made me stop and think!!!! “Wait a minute, I like this guy”. He really does love what he’s doing; he’s a surprisingly good performer with a smooth sultry voice that never lets him down. His new single “I’m all over it” is probably his most commercial effort to date and by the sounds of the single it won’t alienate his old fanbase and will most likely only bring new fans on board. Jamie went on to perform other cuts from the new album ‘The Pursuit’. In the tradition of tradition al jazz, a cover was inevitable, the song of

such as “We run things” co-written with Hip-Hop and R’n’B music producer K-Gee (who also DJ’d on the night). All in all Jamie Cullum is back as strong as ever, the music is as good ever, performance is great, the image improved and he seems all geared up for some real mainstream success.

I had some reservations about go- bass track and some heavy bass my penis, up and down, up and BrokeNCYDE ing to this gig, and fears were realline later, and I found myself saying, down…’ it was hard not to smile, PLUS SUPPORT: SYNTHETIC SEAized as soon as I walked through “I’d definitely watch these again!” and ‘get crunk’ with the packed out SON, WHAT MAKES YOU BEAUTIFUL AUGUST 24TH, CAMDEN BARFLY

the door. I was the oldest person there, and despite being the only person of legal age – the only sober person, too. Well, what else could I do, but to catch up! Trust me – it had to be done.

The first band on were ‘What Makes You Beautiful’, comprising of a punk rapper, a DJ Talent impersonator and a very enthusiastic fan base. To begin with, I felt like I’d landed in a youth club playing cheap rave music, but surprisingly, I really got into it. Technically, the band were brilliant, but sadly, the same can’t be said about the lyrics; ‘Jump, Jump, we don’t give a f**k!’. A bizarre cover of the ‘Round the Twist’ theme tune, a drum and

Next on was ‘Synthetic Season’, a two-person band who were seemingly too intoxicated to perform. Jay Z need not have recorded ‘Death of the Autotune’ as tonight, Synthetic Season well and truly killed it. After some badly performed electro-pop tracks, tattooed vocalist Ash Price immediately alienated half of his crowd, by getting off with his girlfriend on stage. Oh dear. After a long wait, and a wellneeded session at the bar, American headliners ‘BrokeNCYDE’ took to the stage. Well, what can I say. The Screamo-crunkers, who were oddly two-members down, were fantastic. With lyrics such as ‘Lick

crowd at the Barfly. Although the band was mesmerizing, my highlight of the gig was watching two 12-year-old kids cover themselves in glow stick fluid – simply genius. By the end of eight-song set, although I would never buy any of the bands records, I thoroughly had enjoyed myself. I never thought I would say this, but if you fancy a good night out, a bit of a giggle and a good dance, then this could be the band for you! I caught up with vocalist Mikl after the show, and asked him how he found it; “It was amazing, we always love being here – can’t wait to get back!” Somehow, Mikl, I can’t wait either! 15

ALBUM REVIEWS VARIOUS ARTISTS REGGAE CHARTBUSTERS VOLUMES 1-6 (TROJAN) The original vinyl releases of these albums, from way back in 1969 (plus a few years afterwards) was a landmark in the acceptability of reggae in the mainstream. At the time, many of these records were considered “niche” and “cult”, and these albums a (successful) showcase for their talents, but with names like Bob Marley, Jimmy Cliff, Desmond Dekker, and Lee “Scratch” Perry now thoroughly ensconced in the mainstream, these albums now read like a “Now That’s What I Call Music” of the reggae world, with a collection of some of the finest cuts ever committed to vinyl. To pick one volume over the others as “the one to buy” would be nigh on impossible, so rest secure in the knowledge that your money is safe wherever you throw it. And if you’re just embarking on a journey into Reggae, this is the perfect cornerstone to your collection. (CM)

ATHLETE BLACK SWAN (FICTION) Athlete’s first outing for their new label sees them drifting towards zeitgeist with a combination of Coldplayesque “safe” guitar pop with the eighties synths, that seem to have taken hold of music right now. The band’s songwriting is as strong as ever, but the resulting sound puts them into that horrible bracket of “great crossover potential” – this is going to be Snow Patrol all over again. Danger, Will Robinson. This all sounds dreadfully unfair to a band who have created some stunning ditties over the years (remember “Westside” anyone?), but they’re clearly shooting for the moon with this one, and I always worry that it could either make the interstellar, or simply alienate their existing fanbase. The jury is out. (CM)

BOWLING FOR SOUP SORRY FOR PARTYIN’ (DIGITAL DOWNLOAD) “Their tenth studio album!” proclaims the press release, proudly. Since they scored a worldwide hit and grammy nomination for “The Girl All The Bad Guys Want” in 2003, times have changed, and this album comes without any kind of physical release. Is it because they’re now a cult act, or because they’re like… you know… trying to shake off the shackles of the conventional music industry infrastructure, man. Either way, they’re not taking it too seriously, with track 1 being an explanation of how they’re making a dance-hit single so they can pay their mortgages and therefore it’s going to be number one. Too cute in a lightweight, throwaway kind of way. (CM)

ECHASKECH SHATTERPROOF (JUST MUSIC) Echaskech get me all excited. For a band very much in the Orb/Orbital vein to really attract attention with an innovative approach to the whole “laptop orchestra” vibe is exciting enough, but when you add to that, some beautifully chosen samples and a fascinating collection of bedroom bleeps, there really is a feel of something akin to a modern take on classical music – the sort of thing that you would expect Buck Rogers to boogie down to, if he’d woken up. In that sense, I guess it’s pretty post-modern, but most of all, I think it’s just downright pretty. There’s an exclusive mix from the band that is going to get repeated on my radio show soon, by the way. (CM)


INME HERALD MOTH (DIVISION) Essex quartet InMe, it’s fair to say, haven’t changed much musically since ‘Overgrown Eden’ was released in 2003, but this is not necessarily a bad thing. Listening to this album took me back a few years, and it’s nice to hear some un-pretentious, modern rock music. This album is very cleverly constructed, too. Intelligent lyrics, matured guitar riffs and Dave McPherson’s unmistakable voice sounds stronger than ever. ‘Nova Armada’ and ‘Captain Killjoy’ are probably the best songs the band have constructed to date, and although hardly innovative, Herald Moth is definitely the band’s best album yet.

SEAN PAUL IMPERIAL BLAZE With his latest effort, “Imperial Blaze” Sean Paul continues his reign as arguably urban music’s most melodically catchy artist. SP continues to demonstrate how easy it is for him to write a song. The problem is it’s the same type of song, over, and over, and over again. He’s still singing to his girl on the dancefloor, Introspection is not something you can expect from Sean Paul. The truth is if you’re a Sean Paul fan, you will probably like Imperial Blaze, but it will be interesting to see whether Sean Paul can replicate previous successes in an electro pop-infested urban music scene.

JODY WATLEY THE MAKEOVER Whilst former Shalamar singer Jody Watley is largely unknown in the UK, in the US she is already the recipient of a Grammy and the Billboard Lifetime Achievement award. With The Makeover, Watley proves exactly why she's been so successful overseas, showcasing her luscious, soulful vocals with a collection of recent material and classic covers, all infused with a modern twist, influenced by the club sounds that she has grown accustomed to over the years. From the funky version of Chic's 'I Want Your Love' to the album's title track, nothing takes away from Watley's stunning voice. In the UK she would definitely fit into the Beverley Knight market as a modern soul diva, so perhaps on the strength of this, her ninth studio album, folks on this side of the pond will finally sit up and take notice. (SM)

LEO SAYER ANOTHER YEAR + ENDLESS FLIGHT How could I down the opportunity to review the big 70’s ball of cheese that is Leo Sayer? Ahem. This double CD (yes, double!) is home to some of Leo’s biggest hits, as his label are currently in the process of reissuing ten of his alums, yippee! Pop classic ‘You Make Me Feel Like Dancing’ is sadly, the only thing I can recommend about this album, the rest of the TWO discs seemingly filled with cringe-worthy, slushy tracks. This album is for ‘hardcore’ fans only, who may find it slightly charming… - (CP)

ADUST QUESTION THE ILLOGICAL This six-track EP from metal newbies Adjust, is one that made a very good first impression. With dark Devin Townsend inspired growls, and Devil Driver influenced riffs, this is a great metal EP, and these are definitely a band to for any metal-head to keep their eye on. However, if you’re not sure who I’ve just been talking about, or if you like your lyrics audible, this is probably one you should give a miss. – (CP)

REVENGINE PLAN YOUR ESCAPE This Scandinavian trio has succeeded in making a record full of, as they put it, ‘ass kicking rock!’. Revengine have combined scratchy vocals, head bopping beats and classic rock and roll licks, and it sounds, surprisingly, good! They’ve even threw a few Metallica(ish) solos in there, nice! It may take a few listens, but I dare you to listen to this without getting out your air guitar and rocking along! – (CP) 17

BRAND NEW DAISY With nearly three years since the band's last installment, it's understandable that Daisy has received considerable hype these past coming months. Guitarist Vin Accardi pens most of the effort here, and certainly proves himself as a songwriter. Tracks like 'Vices' and 'Bought A Bride' lure out a furious Nirvana-esque scuzz from the band, that strangely works so well. If your a fan of the quartet's transition between their last two albums (and the fact they're moving further away from the ghastly pop punk sound of their debut), this album is a gem. Also, that drum sound is just epic.

MUSE THE RESISTANCE As far as flamboyance goes, Muse have really pulled the stops out here. Almost camp vocals from Matt Bellamy, lots of hand clapping, a three part symphony and strangely even a breakdown that wouldn't sound out of place in Aladdin - this all seems to blend together well! The slick sound we know well is still present though, tracks like MK Ultra and Unnatural Selection delivering those massive Muse riffs of the older days. Initially, it takes a few listens to get into, but albeit Bellamy's attempt to emulate Freddie Mercury, this album is sizing up to be yet another massive step forward for the trio.

MONSTERS OF FOLK SELF TITLED Newly formed supergroup, featuring half of Bright Eyes as well as genre pros Yim Yames and M Ward, churn out the best of the best in the world of folk. Highlights of the album seem to come from the lyrically outstanding pen of Bright Eyes' Conor Oberst though, track 'Ahead Of The Curve' especially standing out here. The whole record gives out a very raw feel, each member recording any and every instrument from track to track - a truly talented bunch of general musicians. Some very, very good songwriting that's in danger of being overlooked, don't do it!

ALBUMS IN BRIEF The Killer Meters / Breakin’ Out / Breakin Bread Son of supergroup get funky with offspring of members of Yes, and Northern Souler Ty Karim. Blackchords – Dust Devil / STOMP Melbourne rockers making waves – well heck, if it’s good enough for You Am I….. New Model Army – Today Is A Good Day – Attack Attack Never say die for every mid-eighties indie-girl’s favourite band M – Pop Muzik – The Remix Album – Union Square One of the greatest records of all time remixed by luminaries including U2, Devo, Dub Pistols, and Robin “M” Scott Himself Jet – Shaka Rock – Real Horrorshow Another band who still sound great long after their official “heyday”. Aussie Aussie Aussie! Pete Yorn & Scarlett Johanssen – Breakup – Rhino Scarlett the starlet and one of the best anglophile guitarists who is actually American – can’t be bad. Myernark – Myernark – Myernark Much touted epic, new-new-romantic synth-goth shimmeriness. We like.



You’re new album – ‘Last Look at Eden’ is released on September 14th, what is the meaning behind the album title? Well, we wrote the album at the time of the American elections, and ‘Last Look at Eden’ is our way of voicing what we thought we was going to be the end of civilization. It’s a really important album to all of us, we’re all really proud of it.

and 80’s. It’s definitely a funkier album, it’s got some classic rock vibes and it’s a lot more organic. I’d say with this album, Europe are back. Have you got a favourite track on the album? It’s got to be ‘Last Look at Eden’ – it’s my favourite track, and it’s been received very well. We’re all really impressed with how the video turned out for it, too.

It’s a lot less heavy than ‘Secret Society’, and it seems Europe have developed a more mature sound. The new video for ‘Last Look at Would you agree? Eden’ is really energetic; do you think Europe can still keep up with Yeah. With ‘Secret Society’ we the new generation of hard-rock were trying to create a cutting bands? edge album, which wasn’t the right way to look at things. With ‘Last I think so, yeah. All we can do is do Look at Eden’ we let loose – we our job to the best that we can – wanted to stick to our roots and and it seems that’s going good! take in influences from the 70’s We’re connecting to our fans via

Myspace now, and ‘Last Look at erwise! Eden’ has received over 80,000 hits already. I can’t believe it! You played Bloodstock earlier this month – how was that for you? The band took a very long break, from ’92 – ‘03 – what made It was great! We had no expectayou get back together? tions as we had never played Bloodstock before, but I think it Well, we did a reunion show on could be called a success! There Millennium eve in Stockholm, and was a lot of controversy when it while we were rehearsing we was announced that we were on realized this is what we had to the bill, but the crowd seemed to do. The rehearsal was just amaz- enjoy it, and so did we! ing, as was the show. I don’t think there’s anything that could I noticed a Twitter update on the keep us away! bands page saying ‘The Swiss can rock after all’ – What is the music After 30 years, what inspires the scene like around there? band to keep going? (pauses and giggles, for a long It’s all down to friendship. Me time ) It’s very different. The UK and the rest of the guys have been and USA are ‘rock and roll’ counfriends since we were teenagers, tries. Everywhere else we play we all have the same taste in music, seems a lot different. Sweden really we all went to the same parties – isn’t the same – it’s a total differwe’re all so close. I don’t know how ent place. bands can stay together without that bond; it’s what makes it work. Do you have a favourite place to play live? Europe will always be remembered for The Final Countdown – when It’s got to be the UK, it means the you recorded it, did you still think it most to me. I’ve been living here for would be as popular as it is today? a few years now, so I love playing here. The album has received so We had no idea. Originally I created much interested in England, more the keyboard riff as an opening for than we could ever have expected! our shows while I was still at high school, and somehow it turned into Do you have any plans to return to a 6 and a half minute long track! the UK anytime soon? We like to call it a ‘happy accident’ Oh yeah – we’re coming back to Is it still part of your live show? the UK in February, with a 6-8 date tour. We really can’t wait! Oh yes, we love to play it live. It’s always received so well – though Well, I certainly look forward to we wouldn’t sit and listen to it oth- that. 19


The first time I saw The Rolling Stones in person just happened to also be my 17th birthday. I was a Rolling Stones fanatic and had been since the release of their first album in 1964. By November 24, 1965 they were bona fide rock stars as earlier in the year “(I Can’t Get No) Satisfaction” had become their biggest hit to date. As a result they headlined a local radio station “KQV Shower of Stars” at the Civic Arena in Pittsburgh, Pennsylvania with quite a line-up of talent. The other performers included; Bo Diddley, The Vibrations, We Five, Paul Revere and the Raiders and The Byrds. I enjoyed

all the acts, but the anticipation of seeing my idols, The Rolling Stones, overshadowed the event. Bo Diddley was really fun as his band included his sister on guitar. It was weird seeing a women in a long-flowing evening gown thumping out those raunchy Bo Diddley beats. Paul Revere and the Raiders were true performers as they ran through a series of AM radio hits with some fancy dance steps and their ever so theatrical Revolutionary War-style satin costumes. The Byrds were also very good as their new brand of Folk-Rock was now a mainstay on the radio. But it was The Rolling Stones that brought down the house as well as the screams from the roughly 10,000

fans. Mick played maracas and tambourine as well as sharing the harmonica duties with Brian Jones. At one point Mick worked the crowd into a frenzy by removing his burgundy sport coat and teasing the

in the coming years is very common in live rock ‘n’ roll shows. They certainly did not disappoint anyone and I felt very fortunate to have attended. I remember being in sort of a daze as I walked to the parking lot

audience with gestures of throwing it to them, which, of course, he didn’t. Brian was a stand-out as always with his blonde bangs, white turtleneck sweater and red widewhale corduroy pants. Keith was energetic on lead guitar and back-up vocals while Charlie and Bill just attended to the business at hand. I felt that musically they were excellent, though they tended to play the songs faster than the recorded versions, which I realized

with my date, not sure it had really happened. My father had gotten me comp tickets as he was a salesman for RCA Victor Records and could easily obtain such things. I had very good seats down front and center of the arena and I recall the tickets were priced at $5! Coming soon......just seven months later the Stones came back through Pittsburgh and I was there! John Maxwell 20


So David, you’re back, after a four years hiatus. Why did you wait so long to get back into the recording studio? Well, I think there were a lot of things that had to be done. Between ’98 and 2006 I spent 60% of that time on the road, and with a young family, I just needed to relax. It’s the best job in the world, but if you’re out there feeling jaded or torn, then that’s just not right. During the making of ‘Life in Slow Motion’, too, I knew changes were going to have to be made when I got back to the studio. I pretty much took a wrecking ball to everything when I got back, so it was a matter of starting from nothing – which took a lot of time, but was very, very exciting. I even had to put together a new band. There’s a Tom Waits line, “You’re never hearing the melody, until you need the song”, and you don’t meet the people unless you need to meet them. So I auditioned new people, and a whole need band came together.

haven’t got the skill to capture what you want, you’re not going to get it. It took some time, but I was in no hurry to put it all out there or start the tour up again. We ended up recording dozens of songs, and they all sounded right. I don’t know what’s going to happen to the rest of the stuff! I wrote like I’ve never written before, I had such a new lease of life it was hard to stop. Tracks such as ‘Full Steam’ were caught right at the end of the process, so it was definitely worth it.

is the cartoon version of yourself that gets created the moment you have success. Success creates a little cage for you, and you’re expected to just sit there and tweet, but fuck that! You can’t object to everyone’s opinion about you. Let the music say it, but without any kind of grudge – the element of revenge is strangely absent in my music.

Having put so much time and effort into it, would you say it’s the work you’re most There’s something special proud of? about this album, but I don’t know if it’s going to rival No, no I wouldn’t. It’s hard to ‘White Ladder’ in any sort of be definitive. I’ve never been commercial game, it was a so proud of anything I’ve very poppy record. I mean this done, but ‘White Ladder’ had album has the big songs, but certain magic to it. I think it’s much more complex and what I’ve done flows perfectly, grown up. We’ll just have to however. This record is much wait and see – the world is a more diverse. There was a different place to what it was very limited palette when ten years ago. White Ladder was made. The think I like most about this Has politics and current affairs record is that it shines a light had an influence on the lyrics I wanted to go back to reon every facet on my song- for this album? cording the way I thought it writing, my musical personalshould be done when I started ity and my sense of humour, They always are, but this new making music – live, so we which is not always obvious. band has a little bit more musmade this whole record old There’s a sense of wit about it. cle, and there’s more attitude school, with a live band and to the music. There’s been live vocals, in a room. If you One think I find unsatisfactory some sort of mood change

with me – this music is much more panoramic. I think I’ve grown up and got over a few things – the changes I made were also part of a change in me. Life’s too short. What about the criticism you have sometimes received from the press? I always feel quit empowered from criticism and nasty remarks I’ve received – I’ve actually got off quite lightly considering the amount of records I’ve released. Look at Robbie Williams! I find it amazing how facts get twisted, and no one can be bothered to find out the truth. I’ve just been doing loads of press around the world, and the amount of people that have said “Oh, you’re from Ireland” – once it’s out in that Wikipedia kind of way, it never stops. All that James Blunt singer-songwriter shit doesn’t bother me anymore, it just doesn’t matter. 21

You’re not too keen on being manager suggested Annie, compared to James Blunt, are and I just knew it would work. you? She’s got such a strong voice, coupling pop with angst – it’s I don’t like being held responsi- fantastic. She sings a line like ble for the template that “bullied suckered pimped and ‘White Ladder’ created. People patronized”, and it makes it then lump you in with that – sound like a great idea. She’s but that wasn’t quite the just such a pleasure – she same, it doesn’t have the same sang until she was completely kind of depth. There’s a differ- happy. These two contribuent craft going on, but if peo- tions were a completely unple don’t see that, what can premeditated kind of thing, you do? but it changes the flavour of the whole record. I heard you’ve worked with Jolie Holland and Annie Len- The album was recorded in nox on the new record? The Eurhythmics old Studio, too… Yeah. Jolie Holland is a cult American singer, she has a Yeah! I bought Dave Stewards bluesy country kind of style, old studio, so Annie Lennox and she’s one of my favourite came down to what was her singers ever, she’s amazing. studio. She loved it, and took She sang on the song the piss out of the fact that I “Cathleen”. Annie Lennox hadn’t changed the tartan was incredible, she blew us carpet. It’s wearing very well, I away. It’s a big song, with a think! big effort, taking an albums worth of work to make it As this is Rokpool, I’m going work. I always thought it to rock-up the questions a bit. should be another man singing Have rock acts ever influenced on the record. It’s a Rightous your music? Brothers kind of track, with a massive string arrangement I started getting into music and horns [Gray does a fan- around 1979, The Specials, tastic Horn impression!] My Madness, UB40, that kind of scene. The indie scene of the mid 80’s had a great effect on me, bands like The Smiths, The Cure and The Cult. At the same time I was getting into heavier stuff, such as Led Zep-

plin and The Doors, and I’d say that had an effect on me too. However, being a songwriter, I’m most influenced by other songwriters, and songs with great lyrics.

Robert smith – I’ve got a bit of a cure thing. I can’t even imagine what that would sound like, but I think he’s great. He always seems to sing everything like he means it. He really is a creature of the

I heard a little rumour that you night man who takes lots of used to be in a punk band? chemicals and makes music all the time. He is what he sounds Ha, yeah, I was very young. like he is, fantastic. We first called ourselves ‘The Prawns, and then ‘The Vac- And finally David, imagine uums’ – to call us punk would you’re having a dinner party, make us sound clever. We and you can invite five musiwere just making a noise and cians – alive or dead. Who playing dodgy covers, mainly would you choose? songs by The Cramp, The Cure and The Who. It was just us The dinner party probably making a racket, the most fun wouldn’t go very well, but I you could ever have as a teen- think I’d invite, Nina Simone, ager! (there’s no point inviting van Morrison he’d just throw up in If you had to collaborate with the corner), Nick Drake, a ‘rock’ singer, who would it Marvin Gaye, Jerry Dammers be? and Nick Cave – he’s always a laugh. (CP) I’d love to do a track with 22

FEATURED COLUMNIST WHILST WE USUALLY USE THESE PAGES TO INTRODUCE YOU TO A COLUMNIST, WE’VE DECIDED TO DO SOMETHING A LITTLE DIFFERENT THIS MONTH….. OVER ON THE MAIN SITE, WE’RE LAUNCHING A BRAND NEW SERIES ABOUT THE HISTORY OF RECORDING STUDIOS. A DIFFERENT ONE IS EXPLORED IN EACH EDITION. DO CHECK THEM OUT – STARTING WITH THIS ONE….. When research is conducted on the vast compilation of London’s recording studios, the majority only have a history of maybe twenty years to their name. Though they may be equipped with the latest recording software and a snazzy cappuccino machine that performs the work of ten unpaid tea boys, nothing can replace the inheritance of the major 20th century musical icons. IBC Studios was one of the few studios to pre date the Second World War and collected a magnitude of clientele and eminence throughout its lifetime. The building is still standing, and even inhabits a working recording studio under the name, ‘The Barn Studios’. In order to convey the studio’s complete history, further research takes one back to the year, 1926. The French port-town of Fécamp became the site of a revolution in broadcasting history. It was at this town on the Normandy coast of France, where ‘Radio Normandy’, the first pirate radio station to transmit to Britain, was born. Captain Leonard Frank Plugge, an English eccentric was the founder of Radio Normandy and it was the first station to really challenged the BBC, especially with the amount of music that was played on Sundays. The BBC would only transmit religious based pro-

grams on Sundays with no music. Therefore, Plugge found this to be the way to compete with the BBC and on good days, drew more listeners than the enormous broadcasting company. IBC (International Broadcasting Company) were responsible of transmitting radio stations from other countries in Europe to England, and it was this coalition that brought the IBC and Radio Normandy closer. Roy Plumlee, who worked for the IBC in Portland street often broadcasted advertisements on behalf of Radio Normandy, which somewhat gave Radio Normandy an invasion onto English soil. An interesting story regarding Roy Plumlee is that his main income was selling washable condoms, which he branded, ‘The Workingman’s Friend’. Radio Normandy came to an end during the Second World War when the Nazis claimed the radio station and soon it became dormant. The IBC tried to

revive the station by broadcasting to the British Expeditionary Force in France, but with all -American programs, and news

bulletins from the Havas Agency (read by Bob Danvers-Walker) the competition was to fierce. The station was closed down after about six weeks. IBC recording studios played a massive role in the voyage of Radio Normandy’s conquest of pirate radio. IBC recording studios were home to probably the first pirate radio station that was within its pirating country.

The studio was originally housed in Hallem Street, on the site of what is now the BBC's Broadcasting House extension. To allow the BBC to develop the Broadcasting House site, the deWalden Estate moved IBC over the road to a pres-

tigious site in Portland Place, previously mainly occupied by embassies. The studio’s new address was ‘35 Portland Place’, and after the Second World War it was the address of the leading independent studio in London and the British Isles. The studio already had a reputation of good engineers and a good sound, having recorded ‘Rawhide’ by Frankie Lane in the 1950's and the first Rolling Stones’ demo in 1963. The engineer on that session was Glyn Johns, who became the Stones’ producer and engineer on many of the hits that followed. Another engineer that worked at IBC was the renowned Joe Meek, who went on to record the first British single to top the American charts, ‘Telstar’ by The Tornadoes. The 1950’s saw engineers wearing white coats, almost like laboratory technicians and were more interested in the technical engineering aspect of the recording rather than the sound and timbre of the music. Engineers like Glyn Johns, Howard Burrow and Terry Johnson were a new breed who were up to date with a younger generation.


ment to fix whatever had gone wrong. They were the unsung heroes of the recording industry.” Now that IBC could compete with all the major studios, they continued to get clients that made good records. IBC owned two studios, Studio A, which was the main one and could take over 40 musicians and Studio B, which was mainly used for overdubs and vocals. There was also a dubbing suit and two disc cutting rooms, mono and steIt’s hard to comprehend how technology has advanced so rapidly in the last and current century with retrospect to the 1950’s, when two-track recording was a thing of the future and 1/4 inch tape was all that was used. During the 1960's IBC was responsible for some of the great songs to come out of England. At that time there were only 5 major record companies, EMI. Decca, Philips, CBS and PYE. They all had their own studios but as they were not available all the time and freelance producers were now becoming more well known, studios like IBC and Olympic were now recording the big names. One band that recorded at IBC was the most famous group in the world who were there on 19th April 1964. The session was for a TV special called “Around the Beatles” which was produced by Jack Good. The tracks that were recorded were ‘Twist and

Shout’, ‘Roll Over Beethoven’, ‘I Wanna Be Your Man’ ‘Long Tall Sally’ ‘Can’t Buy Me Love’ and a melody of their singles ‘Love Me Do, Please Please Me, From Me To You, She Loves You and I Want To Hold Your Hand’. Like the Stones the Beatles never again recorded as a group at IBC but it's amazing that two of the best bands to come out of England recorded there in their heyday. John Lennon and Paul McCartney later turned up at the studios on 24th November 1967 when they sat in on the ‘Grapefruit’ session on their first hit, ‘Dear Delilah’. In July 1964 ‘The Kinks’ came in to record ‘You Really Got Me’ while ‘The Nashville Teens’ made ‘Tobacco Road’. A couple of years later, recording technology introduced stereo and three and four track recordings. The further advancement of stereo came with the introduction of eight and sixteen track recorders. IBC was beginning to catch up on the Americans and the studio started to take on a different look. The studio’s technical team of Denis King and his assistants, Peter Smith and Dave Angel, built the studio’s mixer. A former employee of IBC recalls, “If there was any trouble you just pressed button number 6 on the internal phone and they came out of their pit in the base-

IBC was under new management which meant a new name was for the studios was adopted, ‘Portland Recording Studios’ incorporating ‘Barn Records’, which meant that Slade now had their own studio. A source from the studios claim, “Times had changed and all the old crew were no longer there, the glory days were over for me and a new generation was coming through. A few years later Chandler sold the studio to ‘Jet

reo. “We had a good bunch of young engineers coming through and the atmosphere among the staff was fantastic,” said a former employee at the studios.

Records’ owned by Don Arden, the manager of ELO and the father-inlaw of Ozzie Osbourne. Recording techniques were changing and it became difficult to run the large studios. Finally on the 9th of July The only problem at IBC 1985 the studio closed down and was that the management, who offices took its place. were of the older generation, never really understood the music that IBC studios experience an was the studios livelihood. Compe- epic journey spanning most of the tition became fierce as new state 20th century, not many studios can of the art studios started opening brag a similar statistic. The building in the capitol. Many of the bands is still in use under the name, ‘The that used the studio were trying Barn Studios’ however like most other places like ‘The Manor’ or aged recording studios, one feels they had their own studios built in that the blood and sweat that their homes. Eventually the man- poured into the engineering ingeagement decided to sell the studio. nuity and sonic technology all One reason for the closure of the seems elementary as most records studios was that many artists such are produced in a similar systematic as Hendrix began mastering their methodology. It would be almost tracks in stereo format, which IBC impossible to tell where a record is were not doing at the time and also recorded in today’s world, as most it was becoming fashionable to studios possess the same equipmaster in the states. Chas Chandler ment, unlike the exciting and comhad been using IBC for some of the petitive league of the recording acts he produced including Slade studios in the 60’s and 70’s. The and enquired if it was worth buying. unsung chronicles of Captain It was a good ship that just needed Plugge draws a parallel story to the a good captain and within weeks he pioneering audio inventiveness of IBC studios. Another studio bites was the new owner. the dust. 24

V FESTIVAL 2009 Arriving at the festival to the sounds of Mr Hudson’s ‘’Supernova’’, the sun shining and some very chic V revellers it was set to be a day of certain Chelmsford celebration. The oft-reported cleanest and most civilised festival had an enviable problem

– so many stages, so many bands, so little time. Dizzee Rascal, Lily Allen and Will Young all overlapped for example – the upside was there was no time to get bored or wonder who to see next, it was all Go Go Go. Kicking things for me were the charismatic Noisettes, playing the atmospheric 4 Music stage, with a hillfull of fans echoing back the sounds of ’09, ‘’Don’t upset the rhythm’’ and ‘’Never forget you’ – plus equally good tracks from their 2nd album, ‘’Wild Young Hearts’’, singer Shingai prowled, kicked her heels, purred and generally revelled in the atten-

tion. It’s not all about seeing favourite bands – the point of festivals is to see what’s fresh out there. Kid British ticked all the boxes, with a Mod-ish pedigree, owing to bands like the Specials and the Ordinary Boys, they somehow managed to convert 3pm in a tent on a Saturday in Essex into a full-on party. Tracks like ‘’Sunny Days’ were full of cheeky lines, and knowing winks, and the Madness inspired ‘’Our house is Dadless’’ had everyone in the tent grinning from ear to ear. Catching Dizzee Rascal at the 4 Music stage confirmed what an absolutely huge star the man is now, not only was the area paced, EVERYONE was throwing shapes like their lives depended on it, thousands of beautiful people arms aloft singing ‘’Some people think I’m bonkers’’ is no mean feat! Legging it to the strains of Dizzee in my happy ears I see Will Young at the Arena stage playing to the faithful a jazz-tinged set that showed off his remarkable voice and per-

sonable stage presence. Laughing off mic trouble, he reminded us all of his now extensive back catalogue, apologising for rushing through the set , but explaining he only had a short amount of time. The likes of‘’Grace’’, ‘’Changes’’, ‘’Who am I?’’ and ‘’Leave right now’’ added a real touch of class to the day’s proceedings. Razorlight’s Johnny Borrell is a man who started life in the musical limelight by talking the talk, implying he was better than Bob

able as his band played as 2nd headliners on the largest V Stage. Curiously playing older songs from their 1st and 2nd albums, eschewing the newer material, the set was as tight as the parking in the V carpark, spitting out crowd pleasers like ‘’America’’ and ‘’Somewhere else’’. The one downside of V was the inordinately long queues, for a drink or loo break you needed to add at least half hour to your schedule, meaning missing a lot of music.

Dylan etc, but now he is finally walking the walk, With a freshly cut short hairdo and all black attire, looking a little like eccentric 80’s star Julian Cope , he looked totally comfort25

the Union stage to watch maverick Peter Doherty shoot through a set of solo, Babyshambles and Libertines gems. Joined on stage by Amy Note to organisers – more loos and beer tents please! Also whoever came up with the idea you have to queue up for 40 minutes for beer tokens then queue AGAIN for drink needs to be locked in the same tent as tedious band the Script for the whole of the festival weekend!

While the Killers took up residence as headliners on the V stage, I took my Libertines obsessed self to

song’’ with its hypnotic refrain. Leaving during the night with several songs in my heart, sun on ‘’Chelmsford’’ was men- my skin, an ache in my legs from too much danctioned. While the crowd erupted ing, this morning a V virto Libertines favourite, gin, I was sure to be visit‘’Time for Heroes’’ Peter ing Chelmsford again next showed he still owns the summer for more shenanisongwriting magic touch to the beaut: ‘’Broken love gans. Winehouse who sang very briefly, but hung round Doherty’s neck and whispered into his ear, she joined him on ‘Albion’ pumping out England placenames , which earned a whooping cheer when 26






ROKMAG SAYS: “Not much change here. That Evanesence song is really rubbish, isn’t it. We’ll take it off the computer during the relaunch”


ROKPOOL SAYS: “Some new entries this month from the likes of Gomez, Alabama 3, Blondie and a new number 1 from Ozric Tentacles. Are the grebo community listening in their droves? Paul McCartney has finally been well and truly ousted from the top position, unless of course, the MD decided to doctor these figures ….”

AND THE MOST LISTENED TO SONG THIS MONTH (REGARDLESS OF VOTES): The Smashing Pumpkins—1979 ROKMAG SAYS: “Probably because, due to a technical problem it was stuck on repeat for 2 days”

Statistics provided by Rokpool fm is a Shoutcast station. You can access it either as a pop-up from, through the Shoutcast directory, or if you prefer to listen on your own media streamer or player, check the details at our site – Rokpool fm – the chart you control…. 27

CLASSIC FEATURES ONCE AGAIN WE’VE TRAWLED THE ROKPOOL ARCHIVES (FOR ADDED AUTHENTICITY, WE KEEP THE OLD MAGAZINES UNDER THE MD’S BED) FOR SOME CLASSIC FEATURES THAT WE FELT NEEDED TO BE REVISITED. IF YOU HAVE A BED, LOOK UNDER IT. PERHAPS THERE ARE SOME OLD MAGAZINES THERE. IF THERE ARE, GET IN TOUCH WITH US. WE’D LOVE TO SHARE THEM WITH THE READERS OF ROKMAG. WE DO EVERYTHING WE CAN TO ENSURE THAT THE ORIGINAL WRITERS AND PHOTOGRAPHERS ARE TRACED AND GET CREDIT WHERE IT IS DUE. YOU CAN CONTACT US AT ROKMAG@ROKPOOL.COM. GAY MUSIC Collusion, 1983 First up this month is something of an oddity. In these enlightened times, the gay scene, especially in music is as much part of the furniture as that coffee table – you know – that one over there. The one you’re resting your coffee and your laptop on. But 27 years ago, this would have been a daring trip into a clandestine world. Of course, everybody knew The Village People didn’t have wives, and that, boys who liked Dusty Springfield probably weren’t reading copies of Razzle they found in the bushes – but to openly explore this world was special, daring and fabulous, making this piece as great a piece of social commentary as it is a music magazine article, or a damn fine piece of journalism.

DAVID BOWIE Dissident, 1997 The height of the Bowie rennessance. Having thrown everyone off balance with his discovery of drum and bass (used to fine effect at the erstwhile Phoenix Festival in 1996, where he performed a jungle version of “The Laughing Gnome” – your editor was there, but doesn’t remember very much), The Thin White Duke went on to perform in Dance Tents as “The Tao Jones Index” (arf), finally shaking off the Tin Machine debacle of the late eighties. This interview, in support of the “Earthling” album sees our boy in fine form and is certainly a worthy gawp a second time.

NICK CAVE Dissident, 1996 These days, he’s a neighbour of Fatboy Slim in Brighton and divides his time between solo work and his acclaimed group project “Grinderman”. He started his career with The Birthday Party back in Australia. This interview stems back to his first crossover success with The Bad Seeds – a curveball ballad with Kylie Minogue, “Where The Wild Roses Grow” and “Henry Lee” with PJ Harvey from the “Murder Ballads” album. As interest in this cult figure increased, so did his coverage in the mainstream press – and as ever, we’re proud to be able to bring you another outing for this article.










Rokmag October  

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