Tellin' Tunes - Issue 6

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2012 REVIEW --- 2013 PREVIEW

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FESTIVAL UPDATES THE IDLERS PAULANA PLAYLOUNGE ROUGH TRADE REVIEW OF 2012 PREVIEW OF 2013 REVIEWS

Contributors Words from the editor This month's issue includes a rundown of the best acts of 2012, with our opinions on the greatest albums and songs of the year. Also, as we love our new music, we thought we'd also treat you to a look at the upcoming acts in 2013.

Sam Davies

Luke Lambourne James Rebello Sam Fleming Oliver Berisford Cory Devine Elizabeth Coop Ellie Kinney Cameron Brown Dan Weller Mark Wynne Jake Cordiner Tom Mooney Yasmyn Charles Rhys Harding

FESITVAL UPDATES It’s that time of year when the festival organisers are anxious to release information about their line-up, but more importantly, for them, release tickets. Over the previous month we’ve seen a few European announcements such as Arctic Monkeys headlining Hurricane next summer and the likes of Queens of the Stone Age being announced for a handful of festivals, such as Pinkpop.

But the big news in the UK is the release of the T in The Park headliners, Scotland’s very finest festival. T in The Park has attracted numerous acts over the years which includes Kasabian, The Stone Roses and The Strokes all performing over the last couple of years. So you know there is only one way to please the crowd, to continue such a trend. That is why they’ve gone for… Rihanna? experimenting in a number of ways It’s a bold move that will most over the past few years, but after likely be an okay show when recently releasing slightly you’re there.

But as an disappointing ‘Battle Born’, with announcement you have to ask, hard-hitters included such as ‘what were they thinking?’. She’s ‘Runaways’ being a crowd-friendly the Princess of Pop and does anthem, they’re bound to provide little more than wailing over basic an exciting show, complemented electronic beats. Being fair to her, by their extensive back catalogue. she does have a likeability that, They are one of the bands that based on 58 million single sales, simply work fantastically in a many can relate to. But it is festival atmosphere and it would be doubtful many of her fan base are hard not to mention how the typical T in The Park festivalexhilarating ‘Mr Brightside’ still goers. The festival's reputation sounds live. This indie rock classic presents it as a rock & alternative will be in competition for the sing-afestival. It’s hard to comprehend long of the weekend and you how the organisers have gone should expect to be drowned by from having The Stone Roses to the sense of nostalgia. Brandon Rihanna in just one year. It’s a hit Flowers can still provide an or miss decision that will be impressive clarity to his voice that bitched about until the weekend will be ringing through the full begins. With artists like Biffy festival site come next summer.

Clyro, Muse and many more who You know if you attend, The Killers have music that works well in a will be excellent. festival atmosphere who are T in the Park's final choice is a very available next summer, it really strange one indeed. Of course, you comes a surprise. However, you can all envisage a bunch of drunk have to respect the organisers for Irishmen dancing around a fire with trying to attract a radio-friendly an acoustic guitar; therefore, audience and playing around with Mumford and Sons are the perfect their strategy. choice, yes? No. Their repetitive The second of the three is The bullshit may seem the perfect Killers. Simply put; this is a great choice for headlining at one of the choice. They’re not everyone’s biggest music events, after all they favourite band and have lost have sold out their arena some of their chemistry through worldwide tour, but it is more than likely that there will be many more highlights at the festival. They'll simply be forgotten about.

So, there it is. You have your typical festival choice that will always go down well and you have your wild card that is all about who buys their tickets. Then there’s Rhianna. Festivals are always brilliant and a must for any music fan. This may not be the one for you, but all 3 acts are fairly radio-friendly, so expect a decent attendance. With Reading & Leeds confirming Eminem and Glastonbury having very exiting rumours such as Fleetwood Mac and The Rolling Stones, expect a wild summer. This isn’t the best line-up the Scots have had, but popularity is popularity. Where will you be?

By Sam Fleming Last month we brought you the news that Alt-J, Boy Better Know, Sub Focus and Deftones would all be at the Reading and Leeds festivals. Shortly after that announcement, another was made. Now this announcement promised to be something special; the first headliner. And so this announcement came, then we read what it said on the screen, and then we read again what it said on the screen, and then, just to clarify, we read what it said on the screen again. And it still said the same thing; Eminem. I didn’t know whether it was good or bad, or dreadful, and then after 2 weeks I made up my mind: It’s good for the festivals, but not so good for me.

So, much to my dismay, Eminem was wheeled out as the first.

Now, Eminem isn’t bad, not particularly to my tastes, but not awful by any measure, so let’s take a look at his credentials. The ‘most successful rapper’ of all time will be headlining the festivals for the second time, 11 years after his first stint at the top of the bill. Eminem has sold over 100 million records worldwide, a mean feat by all standards, and this will surely make him one of the most popular acts at this year’s festivals.

So, Eminem then. Headlining Reading & Leeds for the second time, and certain to bring in the crowds. Last month, I mentioned Ndubz fans, and with the addition of Eminem to the line-up it looks a certainty that a few of them will be about the place, but, if they want to find me they’ll have to venture into the Lock-Up stage. And it would be brilliant if they try to.

By James Rebello

ROCK 'N' ROLL LEGENDS “Every month we bring you tales of drums, drugs, and Rock ’n’ Roll from the sacred tomes of music history”

Benicassim (or Festival Interacional de Benicassim) is Spain’s biggest music festival. It has been held in Valencia for the past 17 years and has seen bands such as Radiohead, Blur, Oasis and The Cure perform. Last week (December 21st to be exact) the festival announce the first handful of acts that would be performing at the 2013 bash, and it seems as if it’s gonna be a big’un. The Killers and Queens of the Stone Age have been confirmed as 2 of the 4 headliners at the event, which will take place between the 15th and 22nd of July. The Killers, although not a very original choice, are sure fire crowd pleasers. QOTSA on the other hand are a slightly more obscure choice, but a very very welcome one.

It also seems as if the Benicassim organisers have been keeping a watchful eye on Britain’s blossoming music scene over the past year, with Indie darling Jake Bugg on the bill, alongside 2 other massively hyped bands in Swim Deep and Palma Violets. Noisy Kiwi 4 piece Splashh, Echo Lake and US Rapper Azealia Banks have also been confirmed for the bash.

With Swim Deep being announced, don’t be surprised if other UK hype bands such as alt-J, Django Django and Peace are announced for the festival in the coming months.

Alongside the official announcement, the internet has been flooded with rumours regarding the rest of the headliners.

Name’s being thrown about are Blur, Kings of Leon, Biffy Clyro and Noel Gallagher’s High Flying Birds. However, the biggest shout at the moment is that of Arctic Monkeys. A poster was leaked onto the internet a week before the official announcement showing The Killers, QOTSA and Arctic Monkeys as 3 of the headliners, so it would be wise of them to withhold the AM announcement to make the leaked poster seem like a fake. Also, Nick O’Malley (Arctic Monkeys bassist) told a fan to “go to Spain in July” when asked about AM’s unannounced festival plan’s in the coming year. Although those two examples are far from concrete evidence, it would make sense for them to make an appearance as they’re headlining Poland’s Open'er festival alongside Queens of the Stone Age. Whoever else headlines, Benicassim is almost certain to be another fantastic success. Keep an eye on the coming issues of Tellin’ Tunes for more line up news!

By Jake Cordiner

James Marshall “Jimi” Hendrix is often cited as the greatest rock guitarist of all time, and rightly so. His short but eventful life included every Rock ’n’ Roll cliché in the book, with his ferocious guitar playing, abnormal drug and alcohol intake and eccentric behaviour. He flipped the industry upside down, much like his right-handed Fender Stratocaster, and his weighty legacy can still be felt to this day.

Perhaps the most famous story, besides that of his tragic death, is the Saville Theatre gig in the West End. Due to be the last gig before The Jimi Hendrix Experience set out to conquer America, it was bound to be the making of a legend.

In attendance were many notable people, such as Eric Clapton, Brian Epstein and The Beatles, and all were stunned by the electrifying performance given by Hendrix. The setlist included songs such as the infamous ‘Purple Haze’, ‘The Wind Cries Mary’ and a rendition of Dylan’s ‘Like A Rolling Stone’. To end the show, Hendrix set his guitar on fire and launched it across the stage. It was a night to end all nights.

As well as eardrums, Hendrix was also partial to smashing up hotel rooms, such as a Swedish hotel room in which he went into an alcohol induced rage, receiving an injured hand and a large fine. His aggression didn’t just stop there either. In a fit of jealous rage, he hit his girlfriend Kathy Etchingham over the head with a telephone. A lot of these incidents happened on the ‘Axis: Bold As Love’ tour, the second studio album release of the band.

Hendrix continued to progress and there was even talk of a change in musical style; there is no doubt that the world would have seen more astonishing music had he not died at the young age of 27. He was a voice to a generation in a time rife with political corruption, and the unfortunate circumstances of his death are still shrouded by a mysterious purple haze.

By Tom Mooney

Introducing...

The idlers Now, The Idlers’ new EP isn’t exactly revolutionary or staggeringly ground-breaking. On the face of it, it’s just another collection of well-written indie rock songs that make for a spot of nice, easy listening. However, an unusual vocal and a folky twist help to bring some extra flair to the four-track EP, and give the band a bit of an individual edge.

‘Quiet Billy’ is a decidedly sombre number, and sets a somewhat melancholic tone. The lyrics of the first track are fraught with loneliness and a feeling of hopelessness, a concept that is embodied perfectly by the slow, steady pace of the central riff. Said riff is easily the stand-out component of ‘Quiet Billy’; yes, it’s gentle and mellow, but the fluidity with which it complements the rest of the track highlights the band’s song writing potential, and, therefore, makes for a rather intriguing opener.

Simplicity starts to become a recognisable Idlers trademark, when ‘Mrs Blue’s no-fuss melody kicks in. It’s enjoyable, but it’s far from innovative, and you almost find yourself willing them to go a step further and do something slightly more unpredictable. Although, another quietly powerful guitar riff, which rises and falls in all the right places, adds some more depth to the proceedings and saves the track from becoming too dull and samey.

My personal favourite is third track, ‘Without a Word’. Like ‘Quiet Billy’ and ‘Mrs Blue’, it’s on the subdued side and it’s another simple tune, however, the sing-a-long chorus coupled with a steady drum beat creates a nice little toe-tapping number. ‘Without a Word’ shows how The Idlers understand what they need to do to make an ultimately very simple song interesting.

Finally, things get a bit faster and livelier with the final track, ‘Beware’; a finger-click inducing flurry of pounding drums and massive riffs. The melody is instantly catchy and has a distinctively folky feel, which singles it out from the other three songs. By ending the EP with something different, The Idlers leave you wondering as to whether or not they may have a few other surprises in store for the near future.

At times, the EP does become repetitive and, occasionally, even teeters on the edge of tedium, but The Idlers’ ability to throw in a little twist, at just the right moment, makes it very difficult to ignore the exciting prospects of their potential.

Scott Taylor (lead guitar and vocals), Jackson Couzens (rhythm guitar and vocals), Zac Curran (bass/vocals), and Sid Curry (drums), have plenty of time to realise this potential; they’re all young and the four tracks make for an undeniably promising start.

We asked the lads a couple of questions...

How would you describe your sound in a sentence?

An alternative rock sound with country and rock and roll influences.

What made you start writing music?

(Zac) for me it was an escape from revising, so it became the fun thing to do instead of my work - plus it feels great finishing a good song.

(Jack) Well, I started around the time I really got into Oasis.

Noel Gallagher's a great songwriter and as one of my idols, that inspired me to write my own.

How did you get together as a band?

We all went to the same high school (Bramhall High), so we knew each other from there. Towards the end of the year me (Zac) Jack and Sid formed a band with another guitarist, but he never showed up to rehearsals. After Scott's old band went their separate ways, we asked him to join ours and the band as it is today was formed.

Where do you get your name 'The Idlers' from?

The name "The Idlers" comes from when we were bouncing around ideas for a band name, and we though of the Oasis Bside "Idler's Dream". we took the "Idler" part and became The Idlers.

You're locked in a room with One Direction, a pair of scissors and piece of card. What do you do?

(Jack) I'd probably cut funny shapes with the card to pass the time, but before I left I'd have a go at One Direction about their annoying fanbase and how their kind is ruining music today.

(Zac) Depends. If we're in there for an extended amount of time I guess the smaller ones would become food, but who knows?

(Sid) I would kill them all other than harry, make harry eat his other band mates uncoocked bodies and then make him write a letter to his fans saying how shit he was and then kill him.

What do you like to get up to in your spare time?

Write songs, have a few drinks with friends, go to parties, gigs, listen to music and practice our instruments.

Where do you hope to be in a couple of years time?

Regularly gigging, having a decent fanbase, and being watched by or signed with a record company. Hopefully.

By Elizabeth Coop

NIRVANA + McCARTNEY = ?

It is an odd combination. One of the pioneers of popular music joining with the grunge Gods? Paul was not shying in telling the crowd at the Sandy Relief concert that he found himself ‘in the middle of the Nirvana reunion’. In the early speculation, it sounded like it was going to be a strange affair. It has to be said; it definitely was.

‘Cut Me Some Slack’. Oh yes, they did. An original song.

Looking at it from a stand-alone perspective, it has a catchy little melody and forced forwards with the power of overdrive.

It’s satisfying with a typical blues influence that many will be attracted to. But unfortunately, this cannot just be seen as stand-alone. It’s being advertised as a Nirvana reunion and as a Nirvana song? Well, that’s pick ‘n’ mix for you. Dave Grohl is still a thunderous drummer and put on an impressive performance, as did Kurt Novoselic who currently isn’t considered a full-time musician. As for Paul; each to their own.

GREATEST GIGS OF ALL TIME #2 oasis – heaton park 2009 This issue’s ‘legendary’ gig may not have gone down in musical history, but it will certainly be an event that many Oasis fans, myself included, will never forget.

Oasis played three nights at Manchester’s Heaton Park in 2009, the first of which gained much attention after technical difficulties due to a generator failure that forced the band to temporarily abandon the gig for 40 minutes, much to their and their fans’ annoyance. The band still continued to play a 23 song setlist finishing twenty minutes past their curfew.

It really is a controversial topic, as you would expect, so what’s better than a second performance to cement your opinion?

They played the original track once more on ‘SNL’ over in America and was met with a more enthusiastic reaction.

There was obviously less surprise as the ‘reunion’ was already confirmed and wasn’t resting on speculation. Again the riff sounded solid and besides some understandable shaky vocals from the 70-year old McCartney, it was a decent performance.

The negative is all down to pissing on graves and knocking over ornaments; should they really be messing with a legacy?

It’s a topic that’s hot a pinnacle of conversation with Nirvana’s fresh ‘reunion’ and the likes of The Stone Roses raiding banks with high-cost reunion tours. Some will complain, some won’t.

Regardless, you should never leave a member, especially one as iconic as Kurt Cobain. It’s probable Cobain respected Paul and his work with the Beatles, but respect is irrelevant. It’s up to you to decide, be sure to check out the studio version which is now online.

By Sam Fleming

Despite fans being promised by Liam that “this is a free gig now” and “everyone will get a refund”, Noel dubbed the 20,000 fans as “cheeky” for demanding a refund. “So you were genuinely disappointed?” he asked on his blog. I highly doubt it, as being present on the second night of their Manchester gigs will be an event I will never forget. Personally, this gig has great sentimental value to me as my first ‘big gig’ – not including McFly at the MEN arena. As an excited, naïve 13 year old, surrounded by drunken men and an unusual smell, that gig built a memory that will stick within my mind for a long, long time.

The significance of these gigs is heightened by the fact that these were the last dates that Oasis were to play together.

The string of large gigs in Manchester, London, Edinburgh, Cardiff, Sunderland and Dublin marked, unbeknown to the rowdy crowds, the end of Oasis, just a few months before Noel walked out and the world-renowned band consequently split.

Rumours fly around, as they always do, of a reunion, but after Noel’s comment of ‘"People will write and say what they like, but I simply could not go on working with Liam a day longer”, could they ever have the same partnership to result in the same spectacular music? Many argue that they had many disputes in the past and managed to keep it together. Alan McGee, who originally discovered and signed Oasis to his Creation Records Label, commented on the split saying that "I think you'll have a reunion tour in about five years’ time. They love each other. When people love each other, they'll always make peace." Could this, in many issues time, be a feature on Oasis’ reunion gig?

We’ll wait in joyful hope. Don't believe the truth.

By Ellie Kinney

Introducing...

playlounge Punchy. That’s what I’m thinking as I listen to Playlounge’s new EP at 4am on a Friday morning. For something that “wasn’t written to be a record”, the London duo seem to have something rather special going.

Starting off with the Wavves-esque 'Cream Soda', the EP shows what a great band these two are. The track holds a simple punk spirit, put across by the unashamedly teen vocal line, and with it being backed by your brilliant, as put by Johnny Foreigner, ‘Sofa Core’ guitar part, you have a quite fantastic track.

The next track, 'The adventures of...' continues the theme of noise pop based punk, and hold its own when it comes to lyrics. For sure the focus of these songs is definitely not the words, but the attitude of the words, but this song seems to have a cuteness to it that is above your average baby rabbit; the lines “well I don’t drink much. I don’t drink at all/ I’m choking on glitter” give you an impression of what I mean.

With the next song, 'Elephant', we get the lyrics that we expect from a band that sounds like it lives on the beach and smokes all day: “call the coastguard/tell him to check the waterfront for my clothes”. Now I’m not sure what the song’s about, but there seems to be a different story going on in every line. And that is bloody amazing. Like I’ve said, it’s not about the words, but about the sound of those words, and these words, well they seem to mean something, even if they mean nothing at all.

After 'Elephant' we get 'Water Wings', which is a decent sounding track; good simple punk drum pattern, a few chords and your teen vocals again. Now, let’s inspect the vocals: “who wants to fall in love?/ don’t fall in love with me” this line epitomises everything about this band; the simplicity, yet the meaning behind it that isn’t there, yet really is. This is one of the stand-out tracks of the EP, it’s fun and how everything started off; punchy.

'Seahorse', the longest track on the EP, attempts to slow things down a bit. However, the slowing down of things doesn’t particularly help the vocal line, for sure the attitude is there, like on the other tracks, however because the lyrics are now coherent, we get an understanding that there’s not a lot there. But, in a way, this track is charming. Though the lyrics don’t make sense, and it’s not as energetic as other songs on the EP, you still feel happy with it.

In 'ghost grrrl', we get a Menzingers style guitar part mixed in with a galloping drum part that gives you a feeling of satisfaction. I’m not sure whether I’m more satisfied with the drum part, or with the fact that Playlounge prove here that coherence in the vocals is not something they’ve failed altogether at, and because of this we get a stunning track.

The final track on the EP, returns with the same style as the intro track, and that is good. There’s not much to say really, it’s incredibly similar to the first track in that simplicity is key, and the overall sound is the same. I’m not sure if this track needs to be on the EP, but it does seem to round things off quite nicely.

Overall, Thrash Magic is a fantastic EP from a new band that I adore, and so should you. Their quirkiness equals that of Zooey Deschanel on a unicycle, and their punk style 4 chord pattern mixed with the surf sound works for them. I’d file them in the same section as Fucked Up, Titus Andronicus and The Velvet Underground.

Finally, as said by them: “this record is about growing up and not growing up and boats and stuff”. Simply marvellous.

Now, I did get a chance to ask Playlounge a few questions, here’s what they had to say: What were your influences in writing this record?

Sam: I was listening to A LOT of Rainer Maria whilst writing the songs on this record as well as Snowing, Flare Jeans, Midwest Pen Pals and Death Cab For Cutie.

Laurie: Superchunk, Snowing and Idlewild were my main ones.

How did you start out as a band/why?

Sam: Playlounge kinda started as a side project from the other band the two of us were already in together. We had a lot of free time and I had a lot playing on my mind I wanted to like vent. It just started as a bit of fun and then by fluke ended up being exactly what we wanted to be doing.

What is your favourite drink?

How did you get the name 'Playlounge'?

Sam: I've got the biggest sweet tooth and I'm a total sucker for Coca Cola. Much to my teeth's disapproval.

Laurie: Żubr.

Laurie: I used to go round to Sam's to play guitar and hang out and stuff. I knew that he knew some Nirvana riffs so every time he took the guitar I'd ask him to "play Lounge Act". I asked it so much that it became a sort of joke and I had to shorten it to "play lounge". I used to turn up at parties and social events and

shout that at him e.g "Oi Sam, play lounge bruv, play lounge!"

Best gig you've been to?

Then when we needed a name it seemed like the obvious Sam: Every time I've seen Fucked Up they've blown me away. choice.

I once saw them like 3hrs after having been broken up with and that show was such a pick me up. I also had the best time First album you owned? when William reformed over the summer to play Foxfest.

Sam: I don't remember the first record I owned but I remember Laurie: Joan of Arc at the CAMP basement last summer. I the first record I bought by myself and that was Come Clean by was right in front of Tim and they played some Owls songs Puddle Of Mudd when I was 11. and I was close to tears.

Laurie: Meteora, Linkin Park's magnum opus.

How would you sum up your sound in a sentence?

Favourite lyrics of all time?

Sam: I dunno like noisy, honest, positive.

Sam: That's way too hard to give a definitive Laurie: The world's greatest YRRS tribute band. answer to but I've recently been obsessing over “I can't go home, it's not on my way” from LA by Elliott Smith.

Laurie: “I whip my hair back and forth” - Willow Smith What's your favourite TV programme?

Sam: The OC. Laurie: Gilmore Girls.

Favourite band at the moment?

Sam: I recently discovered Julliard and am completely enamoured with them. I love how adolescent and awkward and honest all their songs are.

Laurie: There's this rad band from Lyon called Sport that I know very little about but they have an EP and an album out and both of those are insane.

You're stuck on a desert island with a bottle of rum, a loaded shotgun and Justin Bieber...

What do you do?

Sam: I don't drink so I'll give the rum to Justin and Laurie and then probably start a band with Bieber. We can use the gun for hunting so there's plenty to eat.

Laurie: Totally down for swigging rum with Bieber but in terms of food I might have to just eat fruit and lick rocks…

By James Rebello

One to watch...

ROUGH TRADE?

Factory, Columbia, Atlantic, Creation – all record companies known not just for their capture of the most influential bands, artists and icons of their eras, but for the legacies and in some cases the aftermaths that followed them. In my belief, one of the most understated, and still to this day most important and influential companies the music industry has ever seen, is London’s Rough Trade Records.

Its story begins in February 1976. Geoff Travis owned Rough Trade, a record shop in West London. Known for its welcoming approach to the slowly dying punk scene, Rough Trade was a safe haven, filled to the brim with the ever popular picturedsleeved 7”, Reggae LPs and dodgy punk demos. It was from this ‘community-based environment environment’ that Rough Trade produced its first band, French punks Metal Urbaine, and released ‘Paris Maquis’ towards the end of 1977. By 1978, Travis had formed what was to be the foundations of Rough Trade records, then in collaboration with a network of other national independent labels and stores dubbed ‘The Cartel’.

1978 was home to the swift release of a further eleven singles from the likes of Electric Eels and Cabaret Voltaire and other ‘DIY culture’ bands. Rough Trade gained their reputation releasing their first album, Stiff Little Fingers ‘Inflammable Material’ in the end of 1979 and gaining devotion from popular television programme the South Bank Show.

This met the turn of the decade, Rough Trade had produced an increasing number of punk and post-punk bands, the most famous of which being The Fall and Young Marble Giants, and were now a well established, upsized company.

With 1983 came potentially the most important signing in Rough Trade’s history and began the company’s delve into a new music scene known as ‘indie’ fronted by Manchester icons and Rough Trade’s signing The Smiths. Media frenzy and the almost instant success of the indie scene, particularly The Smiths, ensured equal success for the label, success like they’d never encountered before.

They matched the growing hype with sixteen single and four studio albums in the three year gap of 84-87. All four of these albums reached the top two and the renowned classic ‘Meat is Murder’ was rated by Tellin’ Tunes writers and staff as their favourite Rough Trade Record. The success of the 1984 single ‘This Charming Man’ allowed a further upsizing move to King's Cross.

The fame of The Smiths and Rough Trade was tremendous but relatively short-lived, and in 1991 after a lack of interest and a poorly estimated move to Finsbury Park, Rough Trade was to be no more and went into administration. It would be ten years before Travis and co-developer Jeannette Lee, both living and working in the Rough Trade home of West London, would re-launch the label with New Yorkers The Strokes as their pioneering post-Britpop signing. The Strokes would give them their biggest commercial success since The Smiths and acted as a new beginning for the label. From then till the present day (now in collaboration with Sanctuary records for financial reasons), Rough Trade have produced more and more great bands, some less known, and some breakthrough,

namely The Libertines, Jarvis Cocker and Arcade Fire. Their bands have received great success and fame, however Rough Trade, more so in recent years, have been in my opinion severely understated. And now, more than ever, I believe Rough Trade and their bands will once again be at the forefront, with their recently signed acts and the promotion of upcoming artists (even those signed to other labels) via their shops being an important part of the new wave of guitar bands.

Rough Trade over the past few years and even more recently have housed a new wave of guitar-based revisionist bands particularly in the form of Howler, the Mystery Jets ‘Radlands’ album and newcomers Palma Violets. I believe that this new surge of bands, coupled with the left-wing inspirational morals of the Rough Trade legacy could potentially be the ‘revolution’ we need. Granted it’s nothing new, revisionism is the key to most of these guitar bands’ sounds and Palma Violet’s Sam and Chilli are practically Joe Strummer replicas, but their interesting hybridist approach with past genres may be enough to get us out of our rut of fake dubstep and ear-bleedingly bad ‘electronica’. It’s not only the support Rough Trade understandably give to their own bands, but also how their chain of London based shops support this rise in revisionist guitar bands. They stack their shelves with a variety of new and old bands from all sorts of labels; from Toy to Peace and Swim Deep they supply a more than healthy dose of this new music and give a well deserved middle finger to the much hated music of today’s charts.

So throughout its important history, Rough Trade are still sticking to their left-wing approach to music production and distribution, keeping it as a culture rather than a business or industry. They promote the bands of new with the same support they gave the icons of yesterday. From now on, it’s important to watch every signing and see where they take us.

They’re just as important now as they were in 1983 when they signed The Smiths or 2001 with The Strokes. Rough trade – the one to watch in 2013.

By Dan Weller

ALBUMS OF THE YEAR 20 Tim Burgess – Oh No I Love You After many successful years with The Charlatans, Tim Burgess decided to start his solo career in 2003. You would be wrong to think this was his fourth of fifth solo effort, bearing in mind the time in which his debut was released, however the impressive Oh No I Love You is only the second solo release from the man with the dodgy barnet. Full of brass and bravado, this record deserves to be added to your collection and listened to extensively. The effort is truly admirable considering the aches and pains Tim has encountered through life. If the music doesn't quite take your fancy, his new appearance will leave you pondering! The harmony and melody of each song pulls your heartstrings; the experiment with folk definitely paid off.

19 Kendrick Lamar – good kid, m.A.A.d city The big man's fourth album wasn't really expected to have such a monumental effect on people but with songs like 'Money Trees' and 'Backseat Freestyle', it is understandable to see how this is near enough 70 minutes of genius. The unpredictable record explores the struggles of growing up in such an iconic but dangerous part of America. Famous rappers featured along with a big producer with the name of Dr Dre, it did not let us down. Including Martin Luther King's influential “Dream Speech” and a voicemail left by his parents; it is filthy but poetic and controlled. Forget everything you have ever heard. This is MAAD.

18 The Crookes – Hold Fast Second albums are always the hardest in a band’s career, trying to reproduce what was hopefully a ground-breaking debut and in the case of The Crookes it was no different with 'Hold Fast'. But the four Sheffield lads had feared little, what an album! It was great to here a progression from the debut 'Chasing After Ghosts' with the band drawing on different sounds to give this record a edgy, rawer sound to it showing how the band weren’t afraid to go all out instead of resting on their laurels. Combining sounds of The Smiths, on occasions bands such as The Cure and The Clash and even throwing in a bit of skiffle on the delightful 'Cooler King' the band have lived up to expectation with this exquisite second coming gaining them thoroughly deserved praise from their critics. Surely they can only go from strength to strength.

17 Melody's Echo Chamber – Melody's Echo Chamber All the tell tale signs of Tame Impala frontman (and everyman) can be heard on Parisian girlfriend Melody Prochet’s debut solo album Melody’s Echo Chamber: The sonic synth, the fuzz, the wishy washy melodies and wild electronic reverberations. But what makes this record distinctly Prochet’s is her angelic dream pop vocals which drift and float in the masterfully comprised psychedelic pop sounds. Melody’s ethereal, delicate vocals evoke the listener into a trance like state, where the dreamy musings are almost other worldly backed up by the playful synth. Sometime’s sung in English and sometimes in French, the sweet French vocals are reminiscent of Jane Birkin. Even though 60s psychedelia influence is something unmistakable to recognise, Melody’s Echo Chamber also shares similarities with early 90s shoegaze with the reverberations similar to My Bloody Valentine masterpiece Loveless.

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16 Dog Is Dead – Dog Is Dead Four years after they first got together, Dog Is Dead have finally unleashed their debut album.

They’ve released numerous EPs, had their first single ‘Glockenspiel Song’ receive airplay on Radio 1, signed to Atlantic Records, played Glastonbury and created a cult of fans made up almost consistently of Bombay Bicycle Club lovers. Not bad, eh? It’s easy to see why the band has been compared to Bombay Bicycle Club, whom they’ve supported on tour. They aren’t going to change the world, but they’ll make it easier to find superb indie dance-floor fillers. With such an emphatic debut album. Some may say that they’re boring, however they are perfect with a cup of tea in the sunshine.

15 Egyptian Hip Hop – Good Don't Sleep It seemed like this album was never going to be released! EP 'Some Reptiles Grow Wings' was released back in 2010, but it was definitely worth the wait. Supposedly the heirs to The Cure's progressive pop-crown, it seems as though they have delivered. After two years of recording, and heaps of expectation on their shoulders, Egyptian Hip-Hop have done themselves proud with this record, whilst not being entirely ground-breaking the band have made something special, answering the critics and showing the world why they are to be taken seriously amongst all their big accusations. The brilliant thing is the band have left themselves room to improve and in doing so have allowed themselves the chance to better this album with their follow up (whenever it’s going to be released, it’s hard to tell with this band!) It’s only a matter of time before these lads begin to gain themselves a big following and begin to make big strides towards stardom.

14 Plan B – iLL Manors When Plan B announced the film iLL Manors, we’d have expected a soundtrack done by him, and we weren’t disappointed. With the album released in May, Plan B showed Britain, and indeed the world, that people are still not happy. The album showed us that Plan B can be a true hip-hop artist, not something we’d seen properly before on The Defamation of Strickland Banks, and the collaborations with Labrinth, Kano and Takura show us that he is moving away from singing, and is now telling us how the people feel. He tells us that the politicians know nothing about real life. And this is what we should be hearing, the way our minds are brainwashed with politics this, and politics that, we know have artists willing to tell us what’s what. Obviously we had punk rock, and hip hop in the 70s and 80s, but until recently no one has shown us how angry the people are. We have a mainstream album that shows us, in the words of The King Blues, that we are fucking angry.

13 Allah-Las – Allah-Las Allah-Las emerged from the Californian desert like the messiah from a pink haze of dust in a resurrection of surf rock and psychedelic melodies to rival that of The Beach Boys comes a group who romanticise life in the Golden State. Leading song 'Catamaran' will blow you away as it marks the beginning of a journey through the lawless badlands of America, with eccentric skanking and a large dose of spring reverb. However, it is certainly hoped that we see something different from them next time; maybe less polish or a couple of dirty riffs, because another album of the same may begin to wear thin. You will feel as though you're roaring around Route 66 in an old convertible with quality music on full blast whilst you rest your elbow with one hand on the warm steering wheel whilst nodding your head with your huge sunglasses covering your face in the beaming sunlight and think “I am the bees knees”.

12 Grimes - Visions Canadian singer-song writer Claire Boucher also better known as Grimes released her third album earlier this march. “I try to imitate things, and then I fail horribly, and then it’s just… something different.” states Claire with an interviewer a few years back. However, it’s hard to believe she thinks like this considering Visions opens up the experimental doors in the music hallway greatly and proves great successes that the lead single 'Genesis' for the album which has already clocked up more than 5 million views since the spring. Her informal approach to her music shows various signs on naivety and lack of acceptance to how truly brilliant this album is.

At times, it breaks the barriers of electropop and melody isn’t the king in this album however this modernist pop record has made a bold mark of the albums of 2012 and Grimes has made her musical mark even if it is 2 albums late.

11

Richard Hawley – Standing on the Sky's Edge

From a crow’s nest of Northern grit and working-class estates comes Richard Hawley’s seventh studio release, ‘Standing At The Sky’s Edge’. It is another perfect example of a unique artist pushing the boundaries of his capabilities, to produce an unlikely trinity of a folk-style Hawley twang, mind-bending psychedelia and breathtakingly tumultuous guitar work. From the anthemic introduction of ‘She Brings The Light’ to the concluding slide guitar of ‘Before’, ‘Standing…’ is a howling war-cry to the establishment, daring them to keep pushing the masses towards the edge. The title track encapsulates this feeling in a ballad not short of pessimism, where the tale of a loving father killing his wife and children in an act of desperation and the trials and tribulations of a prostitute take the front. It is however ‘Down In The Woods’ which is the standout track in an album full of worthy contenders; a dig at the Tories’ plotting to sell a much-loved plot of woodland to some “land-owning chinless c*nts”. ‘Standing At The Sky’s Edge’ is arguably one of the most important albums of the year and will surely be a timeless masterpiece.

10 The Heartbreaks - Funtimes 21 First impressions are always important and so with a string of impressive singles under their belt The Heartbreaks released their debut album “Funtimes” in May this year. What an over-whelming success it proved to be! They sounded so professional, I don’t think anyone was prepared for just how good this record was going to be. The new tracks on the album where just as much a success, many would point to “Polly” as being the standout track on the record, the heart breaking ballad wasn’t something you’d expect to hear on a debut album by a four piece from Morecambe. We were also able to hear how many influences had been drawn upon in this record, yes there was the obvious similarity to bands such as The Smiths but there were glimpses of deeper loves for sounds such as motown and soul, showing a mature and open-minded approach to creating this magnificent record. So after such a brilliant debut album and a massive increase in popularity, the pressure is definitely on to create a follow up equally as good (if not better). However having heard some of the tracks at their recent gig at Manchester’s Club Academy (which was also immense!) the band look as though they can handle the pressure. So here’s to a long and successful career, world get ready for The Heartbreaks!

9 King Charles – LoveBlood Upbeat, cheerful and exciting. The biggest indie talent to come out of the South of England for a very long time, if King Charles hasn't appealed to you, you're quite frankly a miserable sod. Seeing life in his optimistic manner, reflected by his wacky hairstyle and funky facial hair. The debut album, which was recorded in Hollywood, has been greeted with outstanding reviews and sold-out gigs, King Charles is the soundtrack to your summer. Including favourites such as 'Love Lust', with the lyrical genius that should bring a tear to your eye; along with the craziness of 'Bam Bam', you'll be left Bam Bam-ing all day long, it is safe to say he has captured the hearts of many. Close friends Mumford and Sons could get their career back on track by including this magical man in their future albums, despite their collaboration with the King leaving a bit of a wet fart. The moustache, the hair, the outfit; he really has got it all. Searching for some originality?

You've got your man right here.

8 Django Django – Django Django Every so often there comes a band who forget everything about making corporatefriendly music and do everything their own way, for the sheer pleasure of making a record. Very few of these records do in fact turn out to be a success, however the Scottish art-rock quartet of Django Django have found a winning formula with their blistering self-titled debut album which includes pounding tribal drums, ominous chants and moody synths leaving your ears wanting more and more. Nominated for a Mercury Prize Award and creating a whole new type of sound, you can only be jealous of the bright future ahead of them. There were fears that this undoubted talent would go to waste, but more and more people are appreciating their sound giving them the recognition they deserve. It's clear to see that Django Django have little in common with most of today’s bands. They take up arms against the “lad-rock” style that has become so apparent in today’s music scene, fighting the mould with their swirling electronic dance grooves entwined with the sharp, attacking guitars and heavy hitting drums.

7 The View – Cheeky For A Reason This was the fourth album from a very special band indeed. Despite an amateur album cover, the music could not be any different. It seems they were trying to go back to the days of 'Same Jeans' when they released lead single 'How Long?' which managed to get slight recognition in the mainstream area of music. Despite this pop-y sound, the music video is incredibly dark and explores the mind of a rapist who is forcing his love onto many of the girls he sets eyes upon “How long has it been since you fell in love with a boy like me?” he questions. Best song 'Hole In The Bed' was sang by Kieren Webster with his rough, strong Dundonian accent. You could say that he's better than the infamous Kyle Falconer at being a frontman, much more energy and enthusiasm shown on stage. After signing to Cooking Vinyl Record, the band are not only gets wads of cash, but their promotion has got exceedingly better, in comparison to 1965 Records' efforts. It is safe to say we'll be hearing another record from the Scottish rockers within the next couple of years, their love for music is utterly admirable and it should be what music is all about.

21 6 Frank Ocean – Channel Orange No one quite new what to expect from Frank Ocean’s debut studio album ‘Channel Orange’. With hype building faster and faster around its release fans and critics alike pondered what route Ocean was going to take, be it a more straightforward soulful album, or indeed a more experimental hip-hop one. What followed was neither.

Instead, ‘Channel Orange’ came to be, surprisingly perhaps for some, one of 2012’s stand-out albums. From start to finish it’s an emotional journey (which gained more attention after Ocean came out as bisexual) which starts with the sound of a PlayStation 2 turning on; Ocean’s symbolic gesture to his listeners that they themselves should be ready for an adventure. Featuring some excellent collaborations along the way (including fellow Odd Future member Earl Sweatshirt, John Mayer and Andre 3000) ‘Channel Orange’ perhaps hits its peak at ‘Bad Religion’/’Pink Matter’ stage, in which the album slows itself down and displays emotion at its rawest state. There’s ‘Pyramids’ too, which debuted ahead of the album, perhaps as it’s a ‘radio friendly’ song, but at just under ten minutes, radio friendly probably isn’t the best way to describe it. ‘Channel Orange’ has, just like the artist whom produced it, has completely challenged any conventions the music industry may have set before it. And for the better.

5 Alt J – An Awesome Wave Did you think it would be possible to fit; rock, folk, the appealing sound of pop, a modern hip-hop beat, a trip hop mood, an alternative indie thrill, heavy electronic synth riffs and EVEN a classical sound into one album? Somehow, new boys Alt-J managed it in their astounding debut album. Arriving onto the music scene with many mixed opinions; most split due to the actual name of the band. Their actual name is '∆' which is pronounced as 'Alt-J', which is the command used on a Mac keyboard to achieve the Greek letter 'Delta'. Along with one of their most popular songs 'Tessalate' with the lyric “triangles are my favourite shape”, 2012 has brought a different view on the way we look at polygons.

Despite this sickening fact, the London lads have took the UK by storm. Winning Mercury Music Prize for 'Best Album of 2012' and reaching the number one spot in the UK charts, the boys from Brixton just need to get rid of the triangle craze and next time they release a record they could be turning the number five spot into number one.

4 Toy - TOY Toy are fresh out of the London music scene with their self-titled debut. Creating whirring krautrock tinged psychedelia, it’s hard to dislike their German ‘art-rock’ sound, due to the plethora of keyboards, crunching guitars, celestial, careless vocals and pounding drums.

Lyrically Toy are nothing special due to the lack of real depth, but instead frontman Tom Dougall’s droning vocals in fact compliment the superabundance of noise Toy create; much like the My Bloody Valentine approach. The whole debut manages to capture this raw, powerful sound that is usually ignored when making a shoegazey sounding psych record. 'Lose My Way', despite being one of the calmer tracks on the album still manages to retain that sound as Dougall mutters “I never thought I’d lose my way / over you” over the top of a transcendental trip through the medium of sound. Rich in sound, texture and melody, Toy have lived up to the hype caused by their singles and succeeded in following up with a fantastic debut that will be worth every penny. Toy’s debut is a magnificent explosion of guitars and swirling keyboard.

3

The Cribs – In The Belly of The Brazen Bull

Described by Q magazine as ‘the biggest cult band in the UK’, The Cribs produced this masterpiece for release early this year. In the Belly of the Brazen Bull is an album of controlled chaos through heavy, distorted guitar and thrashing drums, in a messiness that contrasts to their far more polished previous album Ignore the Ignorant, produced during Johnny Marr’s three year stint with the band. Meaningful and poetic lyrics are masked behind wailing vocals- in that, when you have the pleasure to understand Ryan Jarman’s screeching, you are very glad to have done so. NME named it ‘The Jarman brothers’ best album’, The Fly penned it as ‘their most exciting album yet’ and it was certainly well received by their fans, reaching ninth in the UK Album Charts and receiving a rapturous welcome in venues across the UK on their October/November tour. The first two tracks from the album were released as singles, Glitters like Gold and Come On, Be a NoOne, while Chi-Town was given away as a free download. This album ticks all the boxes; contrasting from the loud sing-a-long Come On, Be a No-One to the pent up angst of Back to the Bolthole or the seemingly jolly Like a Gift Giver to the sorrow of the melancholy I Should Have Helped, similar to most of The Cribs’ albums, there’s something you can relate to, or at least sing along to, no matter what your mood or state of affairs. And if the wailing of the Jarmans can’t comfort you then I’m sorry but nothing much will.

2 Jack White - Blunderbuss Blunderbuss is Jack White’s first solo effort after success with The White Stripes, The Raconteurs, The Dead Weather and several other collaborations. Through his prior success with the aforementioned bands, White has earned a reputation as being somewhat visionary and is now a role model for anyone aspiring to learn how to play guitar with people dying to know what equipment graces his pedalboard and the amps he uses for his distinctive sound. Comercially, Blunderbuss ensured that Jack White’s new solo career began by living up to his hard-earned reputation, reaching Number 1 in both the UK and US, amongst other countries. Musically, the album also has some stellar moments, most notably the four singles White decided to release from it. Love Interruption, Sixteen Saltines, Freedom at 21 and I’m Shakin’ all showcase White’s ability in different ways - the first shows his ability to collaborate with a female vocalist; Sixteen Saltines displays his ‘thrashy’ guitar skills; Freedom at 21 is evidence of White’s newfound sound and I’m Shakin’ is a very bluesy, catchy jaunt. Overall, Blunderbuss was a very impressive debut solo effort from White, but it will also be interesting to see what else he comes out with.

1 Tame Impala - Lonerism This year Tame Impala released follow up record to generally critically acclaimed Innerspeaker, Parker, who wrote and recorded the album has produced another psychedelic cluster in which a heavy pop influence and 70s glam stomps are heard, notably demonstrated in track Elephant; the first single released from Lonerism this year. Despite the thick collage of almost impermeable layers of sound, Kevin Parkers delicate ethereal voice breaks through the psychedelic fog in dreamy explosions behind interstellar synth brought back down to earth with marching, pounding percussion. Kevin Parker described the different between Lonerism and Innerspeaker as "With Innerspeaker I was more into melodies that beam at you rather than wash over you. This time, I want the songs to be like waves that hit you rather than you swimming in an ocean of melody." With the opening chanting mantra of Be Above It, and constant bursts of sonic synth in between Parker’s wails, this serves as a taster for the rest of the record, which has unsurprisingly gathered as much critical acclaim as debut, Innerspeaker, showing that Parker, despite the heavy influences from past decades is still able to create something fresh and exciting each time.

SONGS OF THE YEAR 25 Temples – Shelter Song Bringing that much loved Beatles sound with harmonic melodies to 2012 were Temples. The Kula Shaker-esque intro flirts an Indian-style sound underneath the distorted vocals created by the duo.

These are definitely ones to watch out for in 2013, moreover, it will be interesting to see whether they can create more wonders like this.

23 Likely Lads - Observations It's been a big year for Likely Lads; they've been hailed as lyrical geniuses, released their debut EP which has received rave reviews, supported Pete Doherty and to top it off they've managed to weave their way into Tellin' Tunes' Top 25 Songs of 2012.

Catchy, upbeat, lively and cheery. This'll make you feel very, very happy.

21

Tame Impala – Feels Like We Only Go Backwards This track embodies and condenses Tame Impala’s whole sound into one psych-pop bite, Kevin Parker’s recognisable wail, harmonious organ and complex synthesised sounds revolve around the repetition of “Feels Like We Only Go Backwards”, the changes surrounding the vocals deterring the track from becoming tedious to hear.

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24 Kendrick Lamar – Backseat Freestyle Including Martin Luther King’s influential ‘Dream Speech’ and a French landmark to describe the amount of women Kendrick has, this is one of the most ridiculous tracks of the year, but it works. Just work it out yourself. Within the song Lamar’s vocals are astonishing. Rapid but controlled, filthy but poetic.

22 King Charles – Love Lust Need some advice for your love life? Just listen to this cracker. You'll feel as though you're in love as The King somehow cleverly manages to fit about five songs into one.

It is truly mesmerising. The tribal drums, the punching beat, the funky riff; utterly magical. You may even notice a tear appearing in your eye.

20 Tom Odell – Can't Pretend You get a real sense of Odell's anguish and pain in this belter exclaiming “And I wanna fight, but I can’t contain”. It’s euphoric too, as the backing choir help uplift the song into a dramatic ensemble of contradictions. You could imagine this soundtracking a film in which Brad Pitt is walking in slow motion, looking a little sad, but quietly triumphant.

19 The Boy Royals – People Like Us What have Stereophonics and Manic Street Preachers got in common? They're the greatest Welsh bands of all time. Are The Boy Royals worthy of being added to that list? Well, you'll feel like you're on top of the world listening to this track. The gusty chorus makes you feel as if anything is possible.

They may well be joining that list very soon!

17 Swim Deep - Honey B-Town boys Swim Deep have smashed 2012.

Releasing several songs to the public, greeted with open arms, along with the single 'Honey'. The sweet sound of Austin's vocals along with the colourful music video makes for a top track. “Don't just dream in your sleep, it's just lazy.” Swim Deep's guide on how to live life to the full.

15 Plan B – iLL Manors 'iLL Manors' is without a doubt the most political song of the year. With its distinct political message of anti-Tory rebellion, the song told Britain not to lie down and be bullied by the ‘rich boys’. This is why 'iLL Manors' is one of the best tracks of the year, the message of how people aren’t what the government think is simply the perfect one to get to the people.

13 Swim Deep – King City Building up and up into a military-like drumbeat accompanied by “oooh's” and Austin's dreamy vocals, expect to be hearing much more from one of Birmingham's finest. The synths have the same effect as drinking a pint of cold water after stuffing your face with 10 packs of Galaxy Minstrels.

That's how good it is.

18 Best Friends – Surf Bitches Lads from Sheffield. Are they like Arctic Monkeys, you ask? Oh no, this is a completely different style, sound and groove. You would think Best Friends are from a seaside town like Brighton (with a name like that you may be fooled into thinking they're regulars on the Brighton beach!) but this song will leave you “oooh-ing” all day long.

16 Headspins - Splashh Introducing itself with a heavy bass line, (somewhat reminiscent of early Strokes) and slowly building into an distorted yet anthemic cry of “yeah, yeah, yeah”, ‘Headspins’ conveys a heavy sense of ‘that’ Mancunian arrogance in its defiant cheers, all with a fresh sense of energy and innovation.

14 Velvet Riot – Morning Sun Birmingham has been the breeding ground for a certain type of music in the late months of 2012.

However, Velvet Riot are showing it isn't all about producing pop hits, but creating meaningful, heartfelt melodies oozing with passion. Take a listen to 'Morning Sun' and you will be blown away. This is our New Year's present to yourself, reader, enjoy.

12 Freedom at 21 – Jack White This track showcases Jack White’s new style now he is a solo artist. The introductory drums are a different touch and the sweeping guitar wouldn’t seem out of place as the backdrop to a James Bond film, very smooth and classy. ‘Freedom at 21’ is accented by another impressively classic White solo. Pure brilliance.

11 Jack White – Sixteen Saltines Sixteen Saltines is demonstrative of the influence of Jack White’s more known former bands - The White Stripes and The Raconteurs. The first is evident in his main heavy, thrashing guitar riff and the solo. The throwback to The Raconteurs is shown also in the solo, and again in his high-pitched vocals.

9

The Rolling Stones – Doom and Gloom £200 for a fucking ticket?

Absolute disgrace.

HOWEVER, you can honestly say The Rolling Stones are bringing back the days of 'Sympathy For The Devil' and 'Paint It Black' with this scorcher.

Along with the exceptional compilation album 'GRRR!', the wait has definitely been worth it.

7 Frank Ocean - Pyramids Pyramids is one of the best tracks of the year for one simple reason; the hook at 1.10. This song is one of the sounds of the summer, and all because of that distinct riff. With this song, Frank Ocean proved that he could follow up to 'Novacane' and isn’t just another member of Odd Future. One thing’s for sure; Frank’s going to be one of the biggest singers of this decade.

5 Bastille - Flaws

10 Alt – J - Breezeblocks Look past the triangles and you find a very special band. Undoubtedly a massive year for the London lads, with Breezeblocks being one of their stand-out tunes.

Creating a completely new style of new music mixing many types of genres and creating new trends, shouldn't you judge a band on their influence? Look around, triangles everywhere...

8 Palma Violets – Best of Friends NME have done a fine job of making Palma Violets feel as though they're the greatest thing since slice bread, but they are completely right with this raw, chaotic, sweaty sound. You can imagine hundreds of fat, rosycheeked, middle-aged men going bonkers to this chorus. That's what music is all about.

6 FIDLAR – No Waves Gripping riff? Check.

Violent vocals? Check.

Californian group? Check.

This makes for a surf/garage paradise. Go for a skate and appreciate.

The amount of material this band have released for free is astounding and should be noticed. It is evident that they're doing it for love, not for any other shite manufactured reason. This is real music.

4 The Cribs – Come On, Be A No-One With the rise of the hipsters came the trend of baseball jackets and triangles which Bastille have pulled of magnificently. Despite these continuous hipster digs, the chorus in this pop tune is simply exceptional.

It contains as much volume as Dan's hair and it's a shame they haven't got anything else to back themselves up. Decent for a boy band.

In true Cribs style, Come On, Be A No-one is loud, boisterous and brilliant.

This obviously Nirvana inspired track is heavy with the usual gritty guitar and thrashing drums, filled with energy, emotion and, as always, clever lyrics; “like a shooting star, or a change of heart, I’m something that you rarely see.”

3 Peace – California Daze Utterly magical. From start to finish, this is a masterpiece. The gentle start with the harmonic, dreamy vocals, finishing in a blitz of drum rolls and some expert guitar playing from the frontman, Harrison. The thing which makes this song so special is the incredible lyrics accompanied by the soothing vocals, you won't find many songs better than this from 2012.

2 Peace - Bloodshake It may not be song of the year, but riff of the year? There's no doubt about it. 2012 has been the year where white sock have come into fashion, led by none other than the Birmingham boys, Peace. You can never get tired of this song, the bassline, the drumbeat... And how could you forget that chorus?! The breakdown will leave you moshing all night long and do you know what the best thing is? They're releasing an album next year. Oh we cannot wait.

1 Arctic Monkeys – R U Mine?

Earlier in 2012, everyone’s favourite Sheffield lads burst back onto the scene with ‘R U Mine’, a top notch record. It wasn’t too dissimilar to the sound of ‘Humbug’, with its heavier characteristics and featured a lustful retelling of Turner’s fluctuating relationship with Alexa Chung. It is this tune which deserves to sit atop the pedestal of best single of 2012. Arctic Monkeys later released a 7” vinyl to celebrate Record Store Day, a limited pressing of only 1340 copies. The vinyl featured a B-side in the form of ‘Electricity’, a song like its counterpart; clearly inspired by The Black Keys. The single was released to critical acclaim, with many deducing that an evolution had taken place, waving goodbye to the Arctic Monkeys of old and welcoming the new rock’n’roll style.

There are few, if any, alternatives big enough to justify the title going to any other than ‘R U Mine’. It is unclear as to what we can expect from any future releases but the inyour-face sound of ‘R U Mine’ is a very good indicator of the band’s increasing maturity.

ONES TO WATCH IN 2013 this is our definitive list of upcoming bands for this year

DRENGE

BEST FRIENDS

SWIM DEEP

Rock 'n' Roll at its finest; raw, loud and exciting... the duo certainly have a knack of producing quality tunes.

It is noisy, rough and genius. The Sheffield lads have a important year ahead of them but we think they can pull it off.

Expect them to be leading the charts, their delicious pop sound is impossible to avoid.

Best tune? I Wanna Break You In Half

Best tune? Surf Bitches

Best tune? King City

KING KRULE

TEMPLES

Reverb and distortion has become very popular within the last year, it is certain that Splashh will keep it going in 2013.

It will be surprising if King Krule doesn't manage to make himself one of the main men in dreamy pop for years to come.

You are going to be hearing a lot more of that psychedelic stuff next year if these two have got anything to do with it.

Best tune? Headspins

Best tune? The Noose of Jah City

Best tune? Shelter Song

SPLASHH

FOXYGEN

PRISMS

This is your chance to escape back in time and let your heart melt to the sound of Foxygen.

The technical electro-beats will pump through your veins and you will like it.

Oh, trust me, you will.

Best tune? Make It Known

Best tune? For I Have Sinned

CHILDHOOD

TOM ODELL

Reverb reverb reverb. It's popular, so why shouldn't Childhood be popular too?

Massive. Tom Odell will be the greatest solo artist of 2013. Without a doubt.

You've heard it here first.

Best tune? Blue Velvet

Best tune? Can't Pretend

THEME PARK

JAWS

Exciting and perfected, Theme Park have ended 2012 on a high and things are only going to get better.

It's hard to find originality nowadays but there aren't many bands who sound quite like JAWS.

Best tune? Two Hours

Best tune? Surround You

PALMA VIOLETS

LITTLE NIGHT TERRORS

Well, hasn't 2012 been a mad year for Palma Violets? They'll be hoping for more of the same, we think better...

Less of this fannying about and listen to a proper sound. Typical indie band who are capable of being different

Best tune? Best of Friends

Best tune? Young Lion

JOEY BADA$$

TOWNS

Is this the man to bring back real hip hop? 2013 is his chance to shine...

These are one of our favourites from 2012... We're sure they're going to be your favourite in 2013.

Best tune? Waves

Best tune? Just Everything

FIDLAR

CAROUSELS

With the release of their debut album very soon, the American group are going to blow 2013 to pieces.

There are many shoegaze bands lying around with little to say. However Carousels are ready to tell us what they're all about.

Best tune? No Waves

Best tune? Sweet Honey

DEAP VALLY

DEAD SONS

The term 'rock chick' was invented for this duo. Sensational and sexy.

Best tune? End of the World

It's far too easy to say they sound like Arctic Monkeys. 2013 is the year these guys need to get their own sound, they can.

Best tune? Hangman

MOATS

LA SHARK

If the year starts to drag, all you have to do is wait until March for one of the greatest records of 2013 to be released.

These are going to undoubtedly be the weird and wackiest band of the year and you are going to love it.

Best tune? Magazine Cover

Best tune? Skin

WHO TO AVOID...

SAVAGES

SPECTOR

SWISS LIPS

The end of the world was supposedly on 21st December 2012. If this monstrosity release anything else that'll be the end of the world.

Is there really any explanation needed?

They're just another Spector...

honest, entertaining and lively

REVIEWS HAIM

This isn't your normal girl group...

A different side to Birmingham...

VELVET RIOT

Who's Jake Bugg?

TOM ODELL

THEY'RE LA GREEN The final BONKERS...!

SHARK episode DAY Also...

Wild Belle | San Cisco | Robot Redford | Deltasound | Mad Colours

album review

The final trilogy Green Day ¡Tré!

So here it is, the final part of the trilogy that is Green Day’s new releases. So far we’ve seen the trio return to the glory of earlier albums, a welcoming thing to see following the flop that was '21st Century Breakdown'.

So with “Tre” being the final piece of the puzzle, it’s time to see whether the California punk trio will go out with a bang or whether we will be under-whelmed. If you’re wondering about the release of the album being moved forward (it was supposed to be released in January), this is due to Billie-Joe Armstrong’s stint in rehab. This time in rehab will run into the New Year and in doing so will cut a series of live dates, so think of the early release as an apology.

'Tre' follows on from ‘Dos’ instantly by opening with a stripped down track called 'Brutal Love'. Billie Joe plays subtle arpeggios to a backdrop of “ooohs” from a choir whilst he melodically sings. The introduction of a slow drumbeat and horns makes the song seem reminiscent of, dare I say it, an archetypal Beatles song. This nostalgic sound has been heard several times on the three albums, could we be seeing Green Day subtly maturing into a slightly different band? It wouldn’t be a bad thing if we go off the songs that we’ve heard that follow this style, the grand, anthemic, almost operatic sound is quite pleasing to hear.

However, the old Green Day sound returns instantly with the next tracks 'Missing You' and '8th Avenue Serenade'.

The power chords being bashed out, the tight punchy drums and pounding bass all remind us why we fell in love with Green Day; the fact they are focused on the music.

Completely opposing this is the track 'Drama Queen' which introduces us to Billie Joe and an acoustic guitar, but not in the same way we heard the pair on tracks such as 'Good Riddance' and the infamous 'Wake Me Up When September Ends'. Instead we hear yet another reference to The Beatles, considering what we know about Green Day’s previous music it’s strange to hear, but the track plods along and even the solo sounds vaguely similar to something George Harrison would come up with. But, again, this is followed by 'X-Kid' and 'Sex, Drugs and Violence' which sees an instant return to the Green Day we know. It seems that on this album, and the other two in the trio, the band have made the point of reminiscing over their previous successes. The melodic tunes are vintage Green Day, even though they won’t ever reach those heights again it’s fantastic to see them return to doing their thing.

'Little Boy Named Train' whilst oddly named is another fine example of Green Day doing what they do best; the big choruses and Billie Joe’s voice go hand in hand. Like 'Uno' and 'Dos' the songs on this album are nothing new, but

they’re what we’ve come to expect and love of Green Day; 3 minutes of punk brilliance. Next comes the signature track named after a girl, 'Amanda' is Billie-Joe’s homage to yet another girl, singing of his feelings, his experiences of this girl, any fan of the trio know that this track is common place on any Green Day album, you've had 'Amy' on 'Dos' and Viva Gloria' on '21st Century Breakdown' to name just two. It’s yet another thing you’ve come to expect of the band, and they pull it off yet again to aplomb.

We see the immature, yet incredible, side of Green Day come out on the track 'Dirty Rotten Bastards'. It’s the careless side to the band that again makes them so loveable; the childlike “yeaaaaahs” at the beginning of the track entwined with the blistering change of speed mid-track makes this track one of the standouts on this album. You can only imagine what it sounds like live but having seen the trio once you could bet anything that it would be mental, this standard of track is the sort of thing that was missing on '21st Century Breakdown'. I mean, even Mike Dirnt gets a chance in the spotlight with a rare bass solo, to which he doesn’t pass up the opportunity with a bit of frantic fret work! The song then goes onto change again into a slower and more melodic track, very similar to the style followed on the fan favourite 'Jesus of Suburbia', again hinting at the nostalgic sound which we’ve heard throughout the three albums.

The album closes on 'The Forgotten' a track that introduces itself to us with a piano and Billie Joe, another common occurrence on the latter of the three albums, the opening and closing tracks are both stripped down. The atmospheric track is furthered again with the use of strings, it’s quite sad to think that the journey we’ve had with the band on these three brilliant albums is slowly coming to an end. However it could go out in a far worse way, 'The Forgotten' is a simply brilliant track, showing how Billie Joe and co can still show their sensitive side every now and then.

So there it is, three albums in just under four months, a singer in rehab after an on-stage meltdown and a sold out summer show in London, it sounds hectic but being a fan of Green Day it’s nothing new, none of us would have it any other way! So whilst I’m feeling a bit down that it’s all over, these three albums have proven to the critics and the world that Green Day still mean business and are still a massive, world-beating band! No matter what anyone says about it being un-cool to love Green Day, I couldn’t care less, they are a bloody brilliant band, and always will be!

By Oliver Berisford

7.5

Top Track: Dirty Rotten Bastards

album review

Ep review

electro grunge Deltasound

When The Attack Warnings Sound Deltasound are a three-piece band hailing from Newcastle and have been around since 2006. November marked the release of their debut LP, ‘When the Attack Warnings Sound’. The band, consisting of Adrian Huggins, Craig Hutchinson and Jonjo McNeill, describe themselves as making ‘pre-apocalyptic electro

grunge’. They are right.

The album starts with ‘Skydown’, a track that sets the tone for what is to come. A very quiet beat is the backdrop to a clip from a documentary talking about a nuclear explosion - the perfect opener for an apocalyptic record. ‘Skydown’ leads into an impressive and intense riff from Jonjo McNeill. This is followed by a fantastic second track, ‘Protect & Survive’. This is the standout song on the album thanks to the imposing musical atmosphere created by the band. ‘Protect & Survive’, especially in the opening, wouldn’t sound out of place in a film such as 28 Days Later, providing the perfect soundtrack to a zombie destroying a helpless victim.

‘Existence’ is impressive thanks to Craig Hutchinson’s drumming. A very futuristic sound comes from the programming in this one, and McNeill’s changes from deep, low vocals in the verses to his rugged, almost shouting tones in the choruses will surely grab the attention of listeners. The next few tracks are not bad, but they do not offer much variety.

Although, the musical skill is there for all to hear.

This brings us to ‘The New Cancer’, Deltasound’s latest single. The overall feel of this track draws similarities to early Kasabian, but have experimented with stronger guitar distortion. This makes for a good track and alongside ‘Protect & Survive’, it provides you with the highlights you'll want to hear again. It is clear to see why this is the lead single from the album as it is a strong track that show you what the band is all about.

‘When the Attack Warnings Sound’ is a dark, yet energetic record encompassing heavy guitar riffs and the futuristic sounds and beats that come along with the electronic genre. It begins impressively with a variety of highlights throughout the album. There are a few standout tracks but the rest just seem too similar and sometimes too much dependence on production. The bass of Adrian Huggins is hardly noticeable and some guitar solos from McNeill rather than unnecessary electronics would be welcome.

By Mark Wynne

6

Top Track: Protect & Survive

To Kill A King

Word of Mouth Mad Colours released their R.I.P. E.P in November 2012, showcasing a broad range of intuitive and experimental ideas within their music. Hailing from Sheffield, the four-piece chose not to continue Sheffield’s notorious reputation for producing indie rock bands such as Arctic Monkeys, Milburn, The Long Blondes and Little Man Tate.

However the band tries to reflect a sense of creativity and uniqueness within odd sounding time signatures and guitar riffs. Much like Sheffield’s Jarvis Cocker I believe the band to be trying to create a new ‘Sheffield sound’. When listening to Mad Colours I can’t help but to conjure up thoughts of the Buzzcocks lyrical style. You can hear a distinct similarity between the ways the two bands deliver their words. Call it fake Cockney, call it what you want, but you cannot deny that the voice adds to the appeal of the music.

R.I.P.E.P opens with lead track 'Hot Wet Sticky Flowers'. As soon as the track kicks in I am briefly reminded of The Beatles' 'Come Together'. Just as you are relaxing into it the song kicks in with a classic 70s punk, 80s indie guitar riff. A strong bass line throughout allows the track to showcase a poppy style to the band. When listening to the track I can hear a lot of bands within. For example 1980s Leeds band The Wedding Present. There is a part of the song around 1:15 where the guitar is highly reminiscent of Kraftwerk’s Autobahn.

It is the perfect opener for any debut E.P. With its fast pace, and the ability to provoke a head bopping session. this would be a great live song which would get the crowd rowdy and ready for more Mad Colours.

Following 'Hot Wet Sticky Flowers' is 'Romeo'. This slows the pace down and allows us to see one of many different layers of the band. This is a love song, contrasting tremendously to the opener. When comparing the lyrics of the two tracks you can easily establish the differences between what the band are trying to achieve with each song. Whilst studying this track, many different bands again start to circulate in my mind.

I can hear influence of The Libertines within the song, mainly stemming from the twangy local lingo within the lyrics and the burst of pace towards the end. I can also hear a bit of Doves in there too. Mad Colours approach to song writing allows the band to create sounds of which are rarely heard in the music industry of today.

I believe the group to have got the layout of the E.P spot on.

Each tune reflects a different emotion and interests in varying ways. If this E.P is anything to go off I believe Mad Colours could have a very bright future in the alternative music world.

My only fear for the band is for them to become the next MGMT or Empire of The Sun, a band with one or two big hits but rarely seen as favourite bands. However I believe Mad Colours to have an advantage simply because of the amount of influences I picked up from listening to the E.P. I honestly really enjoyed listening to this record and I would recommend anyone to give it a try.

By Cory Devine

Ep reviews

To Kill A King

Word of Mouth To Kill a King are back with their final E.P release before they put out their debut album, 'Cannibals with Cutlery' on the 25th of February, giving us a final chance to make our minds up on what we think of the band’s indie-folk sound.

The EP opens with 'Howling' an atmospheric, spacey track indulged in broody synths to start with before giving way to Ralph Pelleymounter’s vocals, which sound scarily similar to James Blake! The tracks dark verses give way to a huge chorus in which the whole band come together to create a monumental sound, the distortion of the guitars fits in perfectly with the heavy beating of the drums whilst the delicate sounding keys create an antithesis within the song, the idea of them shouldn’t work but they are pulled off superbly to add a gentle vibe within the opening track.

This then follows into 'Funeral', which fades in with upbeat, fast paced guitars that wouldn’t be out of place on a WU LYF record (if they were still together of course.) Again Pelleymounter’s vocals dictate the song and lead into another grand chorus, with songs like this, expect to see To Kill a King at pretty much every festival in the upcoming summer, their feel-good vibes seem so out of place in winter yet they make us feel warm inside. We are able to imagine a warm summer’s day, seeing this quintuplet playing to a field full of careless punters with tracks like this the band are set for big things.

'Besides She Said' is a lot slower and tranquil, compared to the previous tracks it is a lot more simplistic, centred around a single guitar and vocals, until the trademark grand chorus comes around, but even then it isn’t as majestic as its counterparts in 'Howling' and 'Funeral' creating a song which sounds a whole lot more simplistic. However in doing this the band don’t lose that feel-good vibe which we have heard so far, if anything it is the part of the E.P in which we are able to reflect on what we’ve heard and take a moment to appreciate the wonder that we have so far heard.

Following on from this, 'Wolves' is a more layered track, we are able to indulge in that “festival anthem” sound again. The echoed vocals create a sense of togetherness between the group and the listener whilst the bass is more prominent within this track along with a constant guitar which gives the song a slightly heavier feel compared to the rest of the E.P however the song is still a triumph which shows how the band are able to mix it up a bit and still pull it off successfully. 'Rays' follows suit, it’s of a fast pace again and seems to be completely different from the earlier tracks we heard, but again the layered guitars and subtle yet quick, snappy drums allow for a different sound. There’s a blessing in this too in that the quirky sound is able to draw us away from the slightly repetitive lyrics, however that’s only a minuet criticism on what is a very good record!

The E.P closes on 'Let it Die' which sees the band go full circle as the track commences in a simplistic manner, the

vocals seem to float above the very limited music. All that can be heard is a delicate drum pattern and a synth which is almost unnoticeable, however this is no bad thing. The very lack of music is almost like a lullaby and creates a soothing tone within the song, lulling us into a false sense of security when the tracks awakens for a moment in the middle, however as quickly as this comes, it is gone and the song fades out into the nothingness it began with.

So there we have it, with the debut album soon to be released it appears that To Kill a King have very little to fear as long as the album follows suit to the tracks we’ve heard on here. The phrase “less is more” definitely comes to mind when listening to 'Word of Mouth' and you may have to be patient with it for the first few listens, but if you go with the careless flow it creates then you’ll fall in love, for this is a truly majestic record, one that the group could herald as their finest hour.

By Oliver Berisford

Robot Redford

Robot Redford EP Kicking off with the energetic 'Curiosity', a lively tune with catchy lyrics, powerful riffs and an almost, however simplified, Muse-esque, guitar solo, Robot Redford show their potential. It only takes a few listens before you’re singing, or at least humming, along to this song, though I wouldn’t attempt that end of verse howl just yet.

It’s easily imaginable that 'Curiosity' will be a huge hit live, with energy that surely can’t keep your feet still for long. The same could be said for the next track 'How Do You Do?' with equal power exposed through boisterous drumming and guitar, emphasised more so by the slow start, building up the tension until the bursting chorus.

'The Hunt' starts with a much more solemn and eerie tone, reflected by the very first lyrics “the sound of your words are haunting me / I hear what you’re saying but I’m too scared to speak.” At the start of this track, for the first time so far, the vocals don’t seem to be competing with the volume of the rest of the band, albeit only for a short while. Similar to most small band’s debut EPs, this does feel very polished and, as powerful as the vocals are, any rough edges that are only to be expected and would add an individual style to a new rock band like Robot Redford, have been overly smoothed.

The next track 'Aliens' has a heavier feel, sounding similar to early Paramore. Though I’m not sure if that’s a compliment, Robot Redford seem to pull it off quite well, although 'Aliens' really isn’t as strong musically as the previous songs on this EP. The chorus in particular lacks character through overrepetition, giving this tune an amateur feel. Luckily faith is restored by the last track 'Dog House', where the contrast between the previous strident tunes and this acoustic track is greatly welcomed as an insight into Robot Redford’s musical skills. Beautiful vocals beside thoughtful lyrics and a simple acoustic guitar show that Robot Redford simply don’t need the sheer volume of their other tracks to sound impressive. It is hoped that we hear more of the stripped down tunes such as 'Dog House' in the future, as the bar is set high for this upcoming band with definite potential.

By Ellie Kinney

Ep reviews

LA SHARK

Limousine Mmmm...

Tom Odell

Songs From Another Love

If you have a tea mug with some sort of Oasis design on it, there’s a very high chance that La Shark are going to be far too weird for you. Because, the inescapable truth is, La Shark are weird. But weird is often good. The best people in the music business aren’t normal.

Normal is boring... right?

‘Weird’ can be deciphered in two manners. Either something is affectionately weird, like the town eccentric, who might go out with his shoes on the wrong feet, or, something is sinisterly weird, like the way we all knew Jimmy Saville was weird. But don’t worry, La Shark aren’t the latter. For we should most definitely commend they’re endearing experimental pop, not metaphorically cross the road and avoid a conversation.

The seven track EP (that’s right, seven) is teaming with musical influences, be them direct or merely channelled subconsciously. In their almost story like arch of each song it’s hard not to be reminded of Art Brut, for all the right reasons.

But, as the EP advances through tracks such as ‘Sum It Up’ the influences become more and more infused into each other. There’s Talking Heads, that’s obvious, but then there’s more subtle indications of influence, as one can’t, help but be reminded of a wide plethora of artists, be it David Bowie, Gorillaz, David Byrne again, The Libertines or even the 1980’s disco scene at some points, as the bouncy synth line almost makes you want to burst into a rendition of ‘Disco Inferno’.

Music is a wonderfully vast spectrum of talent and styles and, in La Shark, it really does feel like they’ve taken elements of so much from different decades and genres and then infused it with their sheer sense of fun that they clearly have together as a band.

Opening track ‘Magazine Cover’ starts the EP majestically, with possibly the most contagious chorus of the year, stretching one syllable into around seven in the cry of “IIIIIII saw the magazine cover”. 'Mr Modern Man' oozes out even more strangeness “I just wanna meet the perfect man”, then incomes the harmonies of “Mr Modern Maaaaan”. You're unsure whether you be laughing hysterically or thinking “what the fuck is this?”. If you think the latter, you take life far too seriously.

A little further down the line ‘I Know What You Did Last Summer’ continues upon the same ilk, with each enticing verse leading you blindly into the almost cathartic chorus. It almost feels like they’re making you work for it.

If someone overheard you listening to La Shark one day, it might be hard to explain to them what you’re actually listening to. You might even feel a bit weird explaining this whilst “I’ve got a hard-on” rang out from the second track 'Sum It Up' but, to be perfectly honest, if they seem less than enthused that could be a good thing; La Shark are the sort of band you want to keep as your own little secret.

By Luke Lambourne

Those lucky enough to have been present at one of Jake Bugg’s recent gigs should all be in agreement that they’ve come away having seen one of Britain’s best new young singer songwriters.

What they probably won’t agree with however, is that this is Tom Odell and not the roll-up smoking, Bob Dylan idolising, Bugg.

Not to take anything away from young Jake, as he’s done phenomenally well with his debut album, but in terms of true songwriting originality, Odell is head and shoulders above him.

Having recently debuted with ‘Another Love’, which he performed on Later with Jools Holland as recently as last Tuesday, it looks like Odell has hit the ground running, and for good reason. The piano lead EP 'Songs From Another Love' beautifully combines raw emotion with youthful arrogance.

“Britain's best new young singer songwriter” “All my tears have been used up on another love” Odell tells us, as he then navigates his listener through each and every emotion felt in a lost love. The genuine anger and pain Odell pours into the song engulfs you in a manner so unusual that you’re left wondering whether this is a ‘love’ song, or more a ‘I don’t need you, you fucking twat’ song.

Want to hear music with real passion and feeling? Getting bored of completely manufactured rubbish? 'Sense' will give you goosebumps amongst Odell's wails and cries in the forefront with the soft playing of the piano in the background.

Mesmerising. You even get an angelic piano solo at the end.

Doesn't get much better than that, heh?

The second stand-out track from the EP, 'Can’t Pretend', follows in the footsteps of ‘Another Love’, yet in a slightly more sinister way, with Odell exclaiming “And I wanna fight, but I can’t contain”. It’s euphoric too though, as the backing choir help uplift the song into a dramatic ensemble of contradictions. You could imagine this soundtracking a film in which Brad Pitt is walking in slow motion, looking a little sad, but quietly triumphant.

“Odell is head and shoulders above Bugg” Having watched Jake Bugg burst into the mainstream in the way he has, Odell will set his sights on similar targets, and there’s no reason he shouldn’t achieve them. For who was the last genuinely captivating, young, piano-lead solo artist to come from Britain and make a lasting impression?

By Luke Lambourne

Ep reviews

Wild Belle

San Cisco

It's Too Late

Beach Ruddy hell, it’s Wild Belle (excuse the pathetic play on an Alan Partridge line). Here we have a sibling duo from Chicago, consisting of Natalie (vocals) and Elliot Bergman (saxophone & keyboards) and their recently released debut EP 'It’s Too Late'. Released on Columbia Records, these few tracks are allowing the pair to

build quite a reputation for themselves with their unusual style of reggae-infused synth-pop, even catching the eye of XFM's music mogul John Kennedy who invited the band to do a session for his show this week.

“A triumph, jam-packed with synth pop splendour” The record opens with 'It’s Too Late', providing a rather funky little intro which gets the head nodding as Natalie’s vocals come swooping in, an elegant voice that gets the perfect balance between dominating power and high pitched fragility, which at times reaches the upper echelons of pitch that only dogs would deem audible. She throws in the casual rolling of the r’s and excellent laziness in pronunciation for good measure, reminiscent of Santigold’s Les Artistes. Brother Elliot's saxophone marries perfectly with the synth and the swooning vocals to create a combination that produces a brilliantly relaxed, yet contagious effort that lingers in your head for days.

“appear to have much more substance in their song writing than the dreary manufactured tripe that the Queen of Hipsters delivers” The following track 'Backslider' kicks off with a ska-esque beat cut from the same cloth as The Specials classic 'Ghost Town', interjected with Natalie’s soon-to-be-trademark melodic croon.

This track is a darker approach than 'It’s Too Late', but still retains the toe tapping ingredients to please the ears. An infectious chorus drags you in and holds you hostage until the song fades into nothingness, making it inevitable that you stick it straight it on again. A triumph, jam-packed with synth pop splendour and something that’s definitely worth checking out for any Saint Etienne fans.

'I'm In Love' is a less subtle nod to their reggae influences.

The inclusion of this light hearted bouncy track to close the EP is a perfect accompaniment to lounging around in the sun while doing nothing but drinking up the Bergman siblings deliciousness. Comparisons could be easily made to global icon Lana Del Ray, mainly down to Natalie's vocals, as well as her 'particularly lovely appearance', but it would be an injustice to Wild Belle who already, from these few tracks, appear to have much more substance in their song writing than the dreary manufactured tripe that the Queen of Hipsters delivers.

By Cameron Brown

San Cisco caught our attention back in late October with their single release ‘Beach’. The song left many anxious to hear more of the band that is San Cisco.

Emanating from Freemantle, Australia, the four piece indie-pop group are set to release their debut EP, also titled ‘Beach’ in the UK on the 10th December. With their catchy riffs, deep texture and dual vocals you should expect the EP to be out of the top drawer.

“you should expect the EP to be out of the top drawer” The record opens with the single, 'Beach', providing a sound structure for the rest of the EP. This song encapsulates the listener automatically. It is all you expect from an indie-pop song; a nice riff, a catchy chorus and complex, yet easily understandable lyrics. As we continue through the opener, we are greeted by ‘Golden Revolver’. This song, without a doubt, is the standout track on the EP. Opening with electro-pop drums and a continuous guitar loop, the song only strengthens the bands up-beat image. It has typical pop-influence that provides you with a warming sense of nostalgia. With the lyrics “You shot me with your golden revolver before I could take my heart out of the holster”, the song strongly broadcasts the bands metaphorical and intellectual ability.

“uniqueness, dynamic and up-beat grooves” The third track named ‘Reckless’ comes across as a more affectionate sound oozing out peacefulness and relaxation.

This song allows another side of the band to shine, a side that we have not yet seen. The band have dropped the usually upbeat lyrics and music, replacing them with touching words and soft, relaxed melodies which creates a whole approach to their music. If this song is anything to go off, it's clear San Cisco are very talented musicians. The EP closes with ‘Lover’, taking us back to the catchy indie-pop norm. This song is the perfect closing to a very successful EP. 'Lover' reminds us why we began to listen to the record; for its uniqueness, dynamic and up-beat grooves.

Judging from the EP, it will only be a matter of time before these guys really make it on the scene. This record has shown us that there is certainly potential for San Cisco to be as big as, if not bigger than, similar artists including Vampire Weekend and The Drums. Overall, the EP can only do well for San Cisco’s already promising future. The band are quickly coming to prominence and this record shows why. The EP is set for UK release on the 10th December, available on vinyl and download. With nobody like this on the scene at the minute, we can only wish the best of luck to San Cisco and their future endeavours.

By Cory Devine

single reviews

Velvet Riot

Morning Sun

The recent trend has seen an upsurge in the bands coming from the West Midlands area.

Bands such as Swim Deep, Little Night Terrors and Peace have all been well received in the past year due to their ability to create mesmerising music packed with captivating synths, hypnotising riffs and powerful vocals.

So now, we have another band to add to that list; Velvet Riot.

band has opted for a softer, acoustic touch in this track; completely different to some earlier tracks such as ‘Butterfly’ which holds sheer power. This song is one to set your indie nerves at ease; it’s simply gorgeous, the delicate rhythms and harmonies in the latter part make you want it to last forever. A touch of reverb here and there with the drums coming in after the first chorus, everything is brilliant.

Formed in early 2011 as The Siege, this Wolverhampton four-piece have been working away in their vicinity to create a strong local fanbase. But with their debut album coming soon, they’d hope to make that fanbase a bit bigger.

It is, without a doubt, one of the greatest tracks to bless your ears this year. It is not yet clear whether the rest of the album will follow suit, or be a little more aggressive such as in their previously recorded work, but either way this song is a good foundation on which to build upon in order to conquer the music world.

‘Morning Sun’ is the band’s upcoming single, and it is going to make a big impression. The

By James Rebello

Haim

Don't Save Me Haim, if you don’t already know, are three sisters hailing from California, named Este, Danielle and Alana. They’ve found themselves on the BBC ‘Sound of 2013’ poll, alongside artists such as Peace, Palma Violets and The Weeknd and have even had One Direction heartthrob Harry Styles turning up to their gigs in LA (as well as an appearance from the bloke who wrote ‘That Dancefloor Song’, Alex Turner).

But is the hype warranted? In short, yes, yes it is. For Haim are doing something that, right now, no-one else is. They’re refreshingly unique, not only in their stylistic approach of three (pretty attractive) sisters without a care in the world, but musically too. Listening to the ‘Don’t Save Me’ single release might render it a little difficult for the listener to pin down what Haim are all about but, in essence, that’s exactly the reaction they’re looking for. If you thought you had somehow managed to wrestle your understanding of Haim to the floor after listening to ‘Don’t Save Me’, then you’ll be surprised, as they wriggle free of any expectation comfortably with B-side ‘Send Me Down’.

‘Send Me Down’ oozes with confidence and swagger that only growing up in California could have provided, with each thundering strike of the snare delivering a blow which, if they hadn’t already with ‘Don’t Save Me’, ensure that their audience is standing fully to attention.

Although there’s quite remarkable difference between the styles of the two songs the firm, yet audacious standpoint of the sisters is clear. Both the song titles are orders, rather than pleas, demonstrating Haim’s defiance in writing conventional love songs.

The harmonies throughout ‘Don’t Save Me’ sound like they could quite easily be influenced from the UK Garage scene of the 90’s in their infectious pitch changes and, quite similarly to the manner in which Canadian artist Grimes did with her album Visions, it works perfectly.

But for every part ‘Don’t Save Me’ is whimsical, ‘Send Me Down’ is sinister. Its dark, the heavy synth hook rings out and blends perfectly with both the unorthodox drum beat and the vocals, of which fluctuate from cocky to defiant throughout.

With such strong a stage presence and a clear message being sent out from what material we already have of Haim, it’s no wonder they’re attracting the attention they are. In 2013 they’ll be opening for Florence and The Machine on her tour of the UK & Ireland and, although Florence might not be everyone’s cup of tea, this is a shrewd move from the record label. As fantastic as Haim are, the whole concept of an allfemale band will unfortunately lead to them being targeted at a female audience by their label. In touring with Florence and The Machine, there’s no doubt that Haim will pick up a large following, but whether or not it’s the one they want is another question.

Perhaps it’s a bit of a shame that this is the way Haim’s management are choosing to market them at this early stage, or perhaps this is just a bit of over-analysis, but, either way you look at it, Haim are here to stay and will no doubt be one of 2013’s breakthrough artists.

By Luke Lambourne