brighton tempo issue 1

Brighton

Tempo

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ABOUT Brighton Tempo is a student run magazine all about music. We focus on Brighton based bands and gigs at iconic Brighton venues such as Brighton Centre, Concorde 2 and Prince Albert.

Our mission is to give other students and young adults in Brighton free and easy access to news, reviews, interviews and events in Brighton and the surrounding areas.

The magazine aims to make the Brighton music scene more accessible to people new to the city.

Editor: Charley Murfitt Designer: Teddy Webb Sub-Editor: Teddy Webb, Sarah-Faith Tihngang Writers: Tonicha Gilbert, Rachael Garvey, Teddy Webb, Tamuka Mafunga, Cerys Hubbard, Charley Murfitt, Tilly Whyles, Moe Noble Contributors: Ridwan Islam, Dylan Hazell, Liwia Bariwinska

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CONTENTS Contributor’s Pick: MIKE Tamuka Mafunga

Battle of the (wrist)Bands Sarah-Faith Tihngang

Kabasian ‘ALYGATYR’ Review Cerys Hubbard

Bimini Bon Boulash live review Teddy Webb

Beach Riot Believes In the Power of Music Charley Murfitt and Moe Noble 4 Tempo Issue 1.indd 4

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CONTENTS Glass Animals Live Review Tonicha Gilbert

The Downfalls of DrinkingCulture Tilly Whyles

What We’re Listening To Tempo Collective

Angelika Juszczyska: Pool Valley Success Charley Murfitt

Stay Safe Rachael Garvey

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Akhira Montague

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Contributors’ Pick: MIKE

By Kamuka Mafunga

‘I was gone for a tad on the way back, dummy!’ First bars spoken through the trademark fuzzy mix of what some might call jazz-ra lofi off of this new MIKE record.

So when the rap game is a weekly concession of microwaveable music, and a hot feature destined to place it on billboard, it’s difficult to filter through something not from the microwave- something organic. If you’re like me and like your rappers that make every bar count, I’ve got something for you. On Thursday 2nd of December Off Mag Presented...MIKE at Realto Theatre in an intimate set coming off of the release of his latest project ‘Disco!’

This new record is entirely self produced by the New York native under the pseudonym DJ Blackpower. ‘Disco!’ might be an ironic title, the bpm rarely gets to turn up vibes and the title is a contrast of the emotions being displayed. If you aren’t familiar with his work, I suggest projects like ‘May God Bless Your Hustle’ and ‘Tears of Joy’. Much like his previous music, the lyrics are self evaluating. This is best shown on ‘Sandra’ a tribute to his late mother, the production features glossy trap drum and wandering bells as he speaks on making his father proud and trying to accept his current situation. A torchbearer in this renaissance period of lofi beats, drumless loops and beautiful soul samples.

“THIS MAN RAPS LIKE HE HASN’T HAD A DECENT MEAL IN WEEKS HE’S HUNGRY!”

MIKE’s voice is in the pocket of these instrumentals. Standout tracks for the earworms are: the intro ‘Evil Eye’, an assertion of positive energy and reflection of his soul searching. ‘Crystal Ball’ is another highlight, one of the first singles released as a follow up from his lastalbum ‘Weight of the World’.

The production compliments the title exceptionally.

The beat makes me want to get into some slacks, find my afro comb and audition for soul train; a classy funk groove with unorthodox chord patterns. The only feature on this album comes from ‘Sideshow’ on track 2 ‘Alarmed’. Sideshow raps like a man possessed, a highlight reel of a feature. Bar heavy hip hop fans can be satisfied with tracks like ‘Tailwind’ and ‘World Market (Mo’ Money)’. It’s tracks like these that make a dense and heavy album like this replayable, this music is for the soul and you must let it marinate with you. As a music fan you can deep dive into his lyrics and find what’s relatable to you, dive into all the soul samples and dig into the vinyl crates. But remember, no sample snitching.

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BATTLE OF THE

By Sarah-Faith Tihngang

Post covid, students across the country had been waiting for the chance to go clubbing. The freshers of 2021 had been overdue a proper night out for the better part of a year. Many of them had never even gotten the chance to experience the nightlife of their hometowns, let alone the new cities they were about to become accustomed to. So what better solution than a wristband that grants access to clubs all over your city for one flat fee? For many Brighton based students, this seemed like an interesting idea.

Wristbands like the Jager Wristband and the AAA pass promised the “Ultimate Fresher’s Pass” for the ultimate student money-drain; clubbing. Idealised as the pinnacle of student life, clubbing is pretty much an essential experience for first years. A time to have fun, find yourself, and find some friends to get absolutely blitzed with for a few weeks. However, aside from the obvious, one of the downsides is how much it all costs.

With student loans too far on the horizon, affording to go out is an issue for many. Some students even take up summer jobs with the sole intention of paying for their freshers experience. So it’s no wonder that when information about these wristbands was shared online, some interests were piqued. But with the details about these wristbands often coming from word of mouth, it was hard to tell - would they be worth it?

According to their Instagram, the Jager Wristband allows students to go to over four hundred events, five weekly club events, three festivals, and two block parties across the year with their social media constantly updating with new club nights and offers. Bright, colourful posters boast a range of possibilities all with different themes and people. One of the main draws at the end of last summer was the discounted ticket price for the Boundary Festival. By purchasing a wristband and a ticket as a £50 bundle, you could save some money. Other wristbands like the AAA Pass promised at least one hundred and fifty events as well as live acts and PAs. Their Instagram even advertises hosted events from celebrities like Liberty Poole of ‘Love Island’ fame as well as live shows from rappers like Yungen.

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(WRIST)BANDS You certainly couldn’t argue with the price either.

They were around £20 depending on which one you got and how early you bought them; the Jager band jumped from £10 to £25 over a matter of weeks, but with the daunting price of entry it could still be the cure to the clubbing conundrum. Entry fees vary depending on what club, what time of the year, what day of the week, and even sometimes what time of the night, but you’d be lucky to get into most clubs for £5. Lots of people on the student room said they go out three times a week. So generously assuming the average student is home for twelve weeks of the year, they still spend a whopping £600 on entry fees alone.

This might be lower during exam periods and would vary for different people, but it’s a massive leap from the most price of most freshers wristbands.

But, was it too good to be true? Many were disillusioned. I spoke to one person about his experiences with the Jager wristband in particular and the results were disappointing. Whilst it was true you could get into lots of club nights, they were all at the same clubs. The wristband granted access to only a few venues, “you could only get into Shoosh or the Arch”. As well as this, it was annoying having to physically carry the wristband around as proof of purchase. Understandably, many people lost theirs and couldn’t get a replacement for the rest of the year they had paid for. Students who wanted to go to the few places on offer and had managed to keep their wristbands were then met with long queues. On top of that, an early bird ticket to the Boundary festival was only £30, meaning that at most you were saving £2.50 on the actual ticket by buying it as a bundle and you’re still spending an extra £25 by buying the wristband at all! Another student I spoke to about the AAA pass gave a similar account, “It was cool for like a week” but lacked variety in where she could go.

Just like the Jager, the AAA Pass’s main draw was year round entry to two venues, Coalition and Walkabout.

Quite a few students ultimately regretted paying for access to a small number of venues they could not guarantee they would enjoy.

You could argue the wristbands were used ineffectively; students should suss out what places they like and work backwards, and were inadvertently wasting money on nights they’d rather stay in. Once you had the wristband, you were incentivised to get your money’s worth, spending money on drinks you might not have otherwise. But this ignores the fact that they are marketed towards first year students who are unlikely to know where they want to go and would want to find a way to save money in the hectic first few months. They are at a vulnerable point in their academic career and have arguably been exploited.

But if it makes you feel any better, not many people bought into it. Whilst some students used social media to talk about their experiences with the wristbands, many were alerted to the wristband’s existence through strangers infiltrating student group chats to advertise. This jarring, confusing and inconsistent stream of facts led to most people tuning out any information to do with the wristbands and going about their freshers as they had originally intended. As well as this, there was a lot of skepticism about the wristbands’ effectiveness. The inherent distrust in such an offer was enough to deter most people, who had already budgeted for (or more likely made their peace with) the expenses of the upcoming weeks.

It’s up to us where we choose to go out. For some people, the specific set of clubs many of the wristbands grant access to guarantee a year of fun, granted they don’t lose their passes. But for many, with few venues on offer, you may as well stay home, or better yet, just go somewhere else. Because no matter how cost-effective this solution may look, it will always be a waste of money if you didn’t want to be there in the first place.

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LIFE AFTER MEIGHAN

ALYGATYR - KASABIAN: SINGLE REVIEW

By Cerys Hubbard

When Kasabian announced the shock departure of frontman Tom Meighan in July 2020, it seemed that the future of the band was in jeopardy. As a diehard Kasabian fan, I spent quite a few days locked away in my bedroom in mourning, preparing for the end. Fellow fans flocked to social media, commenting “no Tom no Kasabian” and whilst I agreed at the time- I don’t feel this way now. Meighan has since started a solo career, got married and released his debut single, whilst once musical partner in crime, Sergio Pizzorno has stepped up to the mic with touring guitarist Tim Carter becoming a full time member of the pack.

Four years on from 2017’s ‘For Crying Out Loud’ and the raving Leicester rockers are back with their new single, ‘ALYGATYR’.

Pizzorno spits his way through this fuzzy number with enough grit that it wouldn’t seem too out of place on 2011’s Velociraptor.

Despite having a title that could easily give spellcheck a stroke, lyrically it’s a bit of a gem (“too hot to touch like a radiator”- genius, but what does it all mean?). With a bpm of 128, it makes for perfect moshpit material and has already been a hit on tour, making it’s live debut at the bands homecoming show at De Montfort Hall on 27th October. As I’m sure you’ll agree- it’s classic Kasabian with all the trimmings and the band have proved that they aren’t finished anytime soon.

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RELEASE THE BEAST

How Drag Race darling Bimini Bon Boulash turned a Brighton superclub into a queer safe haven… for a few hours, at least For all the fun their £3 doubles can offer you on a Friday night, Shooshh is not my kind of night out.

Brighton’s seafront superclub markets itself with exclusivity, offering and promoting VIP booths more noticeably than its next-door neighbours, but ultimately, it’s your standard glimmering nightclub playing less-than-very-important chart music from 2014. In Shooshh’s defence, though, their real draw is their guests. The club has a talent for pulling in performers and DJs just as they start hitting our airwaves, offering crowds the chance to see popular artists while they still feel like fresh names. However, it’s usually pop and rap upstarts on their stages, not LGBT+ icons you’d expect to see lip syncing at Bar Revenge.

Fan favourite of hit series RuPaul’s Drag Race UK, Bimini Bon Boulash feels like a completely left-field pick for a club like Shooshh. As the drag queen said themselves during the incredibly energetic performance, it’s not a particularly queer-focused venue; I’ve often felt on edge there as a queer person, just like I do in many venues that don’t explicitly include people like me. But this night felt different. Bimini didn’t shy away from who they have always been – an openly queer advocate for the rights of marginalised groups – and instead brought their visions of unity to a new audience. After all, who doesn’t wanna have a good night out as their authentic self?

Bimini’s performance was a crowd pleaser in the best way possible. Storming onstage with a presence that screamed “try me, I dare ya”, they kept the crowd’s hands and energies high with a setlist truly joyful in its weirdness. Original music

By Teddy Webb full of drunk British slang and catchy chanting was followed by a snarling, punky Prodigy that made the perfect ominous atmosphere. As someone whose pre-drinks playlist is still full of Prodigy tracks, I was very grateful. Their versatility as a performer truly provided something for every member of the uniquely diverse audience they’ve cultivated. ‘UK Hun’, The Eurovision-inspired viral hit from her season of Drag Race, was always going to be a huge hit, but when she brought audience members up to lip sync the song’s second rendition, the excitement was palpable. Three randomly selected partygoers rocked up to live their superstar fantasies on the stage, all cheered on by the rest of the crowd in a genuinely heartwarming show of encouragement.

It truly did feel like a supportive and inclusive space - a space where people could let loose without a care.

But the second Bimini left the stage, the illusion was broken. The club’s typical audience filtered in from the queues outside and there was a dramatic change in atmosphere. I was leered at, my choice of outfit mocked. Worse, friends told me they heard bigoted comments, a problem that’s far too frequent in Brighton nightclubs that aren’t explicitly LGBTfriendly. It’s a disappointment.

Shooshh has the capacity to protect its audience from homophobia and transphobia, and further than that has the capcity to create events for Brighton’s thriving queer community that allows everyone a great night out. It’s high time they prioritised the safety of their guests – all of them. A truly disappointing end to a joyfully queer night.

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Beach Riot Belie v of M u

Rory O’Connor serves coffee and opinions Brixton Academy On a cold Tuesday lunchtime we hung out around Brewshack in Brunswick chatting with Rory O’Connor from Brighton’s beloved Beach Riot.

Chatting away at Brewshack where O’Connor worked led to interruptions from BIMM students looking for a caffeine fix, but the chaosi only added to the chill vibe that O’Connor exudes.

Beach Riot recently played Brixton Academy supporting Don Broco and O’Connor talked us through the experience. “They asked us to play and the prep was pretty nuts.” We went into detail about the ins and outs of Brixton Academy and how it’s not like most venues, leading Beach Riot to change how they usually perform technically to swim in this pond. “We never played a show that size, we thought we’d just rock up with our gear and do it.” Turns out Brixton doesn’t even have a PA - the bands that are playing have to hire everything in. It turned into a test of their organisation. “We ended up having to get our own sound engineer and get an in-ear set and practice with them and hire a van and take all our stuff down there.” We continued talking about how Brixton went on the day and how the crowd responded. “We were first on so we were fully prepared to play in a half empty room. But it was rammed. People in the front were singing along as well. It was the best it could’ve been.”

O’Connor rounded up the experience explaining: “It was just massive - but amazing.”

Beach Riot started a nationwide tour on the 24th November, travelling everywhere from Inverness to Milton Keynes and, of course, Brighton. Between making coffees we discussed what O’Connor was most looking forward to on tour. “Well of course I’m really looking forward to the London and Brighton shows. They’re always a really good show. Really

looking forward to going to random places we’ve never been to in Scotland - we’re hoping that’s gonna be great.” O’Connor went on to ponder the new atmosphere at gigs post- pandemic offering Beach Riot’s experience. “Apart from the odd one we’ve done where you could tell people were on edge, in Brighton it’s better than ever so it’s really a mixed bag.”

“THERE IS SOMETHING IN US THAT JUST NEEDS IT. MUSIC CAN TAKE YOU SOMEWHERE ELSE” Music is something we can all agree has helped us through the last two years. O’Connor explained “There is something in us that just needs it. Music can take yourself somewhere else.” Live music took such a hit during the pandemic and the gap it left in the music scene was significant. We discussed what makes live music such a unique experience.

The musician pondered, looking to the ceiling for answers, “Live gigs are just a different purpose. It’s just a different experience, being in a room and being with other people when you can feel the energy in the room. It’s just the best thing.”

O’Connor described Beach Riot as a ‘live band’ that needs to be out playing shows. He expressed worry

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on an

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on the death of indie bands, being a sell out,

By Charley Murfitt & Moe Noble and their tour.......... that it the pandemic would be very detrimental, but luckily, the band threw themselves into the recording side of band life. We were told that the band’s favourite song from their new album, Sub Atomic Party Cool is ‘Medicate for Success’. “It’s the most Beach Riot song we have. It’s really fuzzy but it kinda has a tambourine in the background and it’s real surf-ey- and fun to play.”

So, what’s next for Beach Riot? Off the back of a Brixton Academy show, the band are inspired. “My mind goes full on assault about how I want our sound to be and our level of production. I feel like the first album is kind of garage-ey and I want us to take a step up.” O’Connor jokes “Basically I want to be a sell out. Beach Riot have just sold out, sorry we’re a pop band now.”- you heard it here first.

O’Connor talked of one day playing the mainstage of Reading Festival. Beach Riot played Reading a few years back, but as he put it, “the goal posts are always moving, but Reading would be, like, the one”. The singer joked of the band playing alongside Nirvana - dream big I guess. However, O’Connor earnestly added “I just like to play with my mates, so Gaffa Tape Sandy would of course come and play with us.”

The band are looking to play the bigger venues right now. “We haven’t done loads of them so it feels more exciting to be on a massive stage.”

The last topic of discussion was the death of the indie band. O’Connor disagrees that the primetime for indie bands has passed “I think it’s coming, there’s just not been the right band to kick it off yet. This now feels better than it ever has for me” O’Connor suggests “we just need new Arctic Monkeys to get it started. I don’t think we’ve finished yet.”

As a big part of the Brighton music scene we asked O’Connor who he thinks is the most exciting band in Brighton right now (besides Beach Riot of course). His answer: Lambrini Girls. “Their shows are like wonderful chaos. They are nuts.”

O’Connor went on to explain the level of ‘nuts’ Lambrini Girls give off, detailing a story from the festival ‘Wild Paths’. “In the dressing room they were just having a fight on the floor. They’re on it all the time.

Their live shows are mad. At one point the drummer picked up Phoebe (singer) and just threw her over her shoulder and just ran out of the venue and someone else just hopped on and started playing drums. So definitely Lambrini Girls are the most exciting.

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IN DREAMLAND Glass Animals invite audiences into their technicolour world at the Brighton Centre

By Tonicha Gilbert When the world shut down during the run up to the release of Glass Animals’ highly anticipated third studio album, Dreamland, the band were told to expect the worst, quietly release the album, and then move on. But with the help of TikTok and the positive response from music critics, the Oxford four piece were onto a winner. Having plodded their way through their career as the humble underdogs of the indie pop realm, suddenly the band had created their own lane where their fans eagerly joined them. With this to go off, it’s no surprise their UK tour was such a success; as Brighton Centre filled with an electric buzz of excitement, it was clear this show would be memorable.

Cleverly, the venue had been transformed to feel like you had dived into the universe of their 2020 album, Dreamland; attention to detail had evidently been applied at every stage of production. The screen doubled as an outdated computer monitor presenting a Windows 2000-esque programme with a progress bar used as a countdown, keeping the audience entertained even when the stage remained vacant. The set up of the stage emitted a sense of retrofuturism, setting the scene of an LA neon pool party equipped with a basketball hoop, diving board, and life sized palm trees.

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Tonicha Gilbert

Kicking off the evening was Biig Piig, effortlessly drawing in the crowd with her feathery, velvet-soft vocals. The Irish-born singer and rapper’s set peaked with her performance of ‘Switch’, encouraging the crowd to join in to which they enthusiastically did before ending her set with her most well-known tune ‘Feels Right’. As the bar on the end of the screen reached the end of its progression, it was time for the main event.

Bursting onto the stage with ‘Life Itself ’ and straight into their most recent release ‘I Don’t Wanna Talk (I Just Wanna Dance)’, the contagious stage presence of the band - particularly that of frontman David Bayley - is enough to carry the show without the crowd’s energy. Bayley bounds around the stage as the band cover their discography, seamlessly weaving together new tracks with classic fan favourites. The connection between frontman and the crowd is wholesome; there are several times throughout the night where Bayley looks out to the crowd in awe, announcing that this was the best night of the tour thus far.

Dreamy backdrops accompanied each song, complementing the set’s aesthetic beautifully. The 90 minute set flew by, packed with groovy synthpop melodies inspiring the audience to bop along with them. Soon enough it was time for Glass Animals classic ‘Pork Soda’, a track notorious for inducing pineapples to be thrown around the room - an act that is now strictly prohibited at the band’s shows, despite Bayley teasing the audience with one.

Leaving Brighton Centre wanting more, the band strutted back on stage to close the show with the viral TikTok track ‘Heat Waves’. The reception from the Brightonian crowd is well received by the band, emotionally departing the stage with gratitude.

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THE DOWNFALLS How the normalisation of excessive drinking is detrimental to student welfare

By Tilly Whyles

The insidious netherworld of casual drinking culture finds natural residence within the naïve vulnerability of student cities. Impressionable teens swarm to the bright lights, wide-eyed and hungry for their first taste of parent-free liberation. An air of recklessness lingers in the pubs and clubs as freshers pour cheap paint stripper down their eager throats.

This primal desire to let loose and go wild is a normal, almost routine, way to celebrate new-found adulthood; however, there are slightly sinister undertones beneath excessive indulgence. A cloak of normality is draped over the three-day-benders whilst choruses of ‘it’s all just part of the uni experience’ echo through the puke-stained streets. Consciousness towards the potential of lasting consequence is swept away by the chaos and excitement. The brutal reality of student life is that having fun can often come at a price.

Take a look around and you’ll see casual substance abuse happening everywhere. Your friend gulping down a cheap bottle of vodka at pre-drinks like it’s a refreshing glass of squash. Your housemate makes a questionable cocktail from the contents of your cupboards because it’s 4am and they’re desperate to keep the party going. Amusement aside, this candid participation in excessive consumption contributes to the universal idea of alcohol as a

non-threatening substance. Legalised within the UK, alcohol is engrained in the nation’s fabric as a highly accepted and valued recreation.

Widely acknowledged to promote sociability and temporary escape, our attitudes towards alcohol are primarily rooted in its legality. Being tucked neatly into the confines of the law means that there is a protective veil giving us the green light for guilt-free indulgence. This is where the danger lies. Once the associated shame is detached, there is increasing disregard for the damaging and potentially fatal long-term consequences.

From 2018-2019 in the UK, more than 35,000 1624 year olds were admitted to the hospital due to alcohol-related harm, with 640 people in the same age bracket treated in hospital for alcohol dependence. The Global Burden of Disease study found that alcohol was the leading cause of ill-health among 15-24 year olds. Excessive drinking and the harm that can come with it is not just part of the uni experience’; it’s an epidemic. Being caught within the tempestuous clasp of university drinking culture, it’s no wonder distinguishing the line between use and abuse can become increasingly difficult.

The development of addiction within these spheres of malleable morality is sadly predictable, a ticking time bomb sitting under

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OF DRINKING CULTURE the surface of your madcap nights out. Being surrounded by unconcerned peers actively engaging in frequent overindulgence becomes problematic, as it has potential to delay the acknowledgment of a problem having even developed. The phrase ‘I’m such an alcoholic!’ is thrown around after heavy vodka-fuelled evenings, trivialising addiction by reducing it to a comical turn of phrase. This lack of understanding of alcohol dependency minimises urgency whilst simultaneously enhancing shame. Sadly, this means that many people will not realise that they have a problem until it’s too late.

Despite being misconstrued as mere youthful negligence, the burden of addiction is a reality that needs to be taken seriously. Witnessing a gradual descent into the jaws of dependence, whether in yourself or a loved one, can be an incredibly isolating experience. As leisure becomes laced with guilt, it can become increasingly difficult to view ordinary life with a sense of clarity.

Being caught up in the rapid pace of student life is an overwhelming experience in itself; the weight of new-found responsibility a crushing reminder of the mortality of youth. However, the truth is that trying to keep up with it all is hard. We’re so often labelled as ‘snowflakes’ by overbearing boomers, our troubles silenced by ‘back in my day’ anecdotes and ‘if only you knew how easy you’ve got it’.

increasing pressure on young people to keep their heads above water. Being thrown into this turbulent circus is intensely nauseating, and there’s no shame in developing crutches to make it just that little bit easier. The accessibility of alcohol and general attitudes of unconcerned acceptance means that the development of addiction is an unfortunate narrative woven into many young people’s university experiences.

Although the idea of deconstructing a whole nation’s desire to drink excessively is unfathomable, recognising the early warning signs of addiction is extremely important, and can be potentially lifesaving. Having open conversations and checking in on your mates is a crucial first step in the acknowledgment of alcohol dependency, and creating nonjudgemental safe spaces is vital for protecting the welfare of those struggling.

If you or someone you know is struggling, contact the BIMM Brighton student support team who can point you in the direction of local services.

01273 626 666 – extension 2630 studentsupportbrighton@bimm.co.uk

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The incomprehensible dynamics of the modern world are rapidly changing, and there is

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Rachael garvey

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Rachael Garvey

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WHAT WE’RE LISTENING TO A sneak peek into the Tempo staff’s most played music of the season

RECORDS

Seventeen Going Under - Sam Fender An Evening With Silk Sonic - Silk Sonic (Bruno Mars & Anderson.Paak) In The Court of the Dragon - Trivium It’s All Smiles - No Rome The Walls Are Way Too Thin - Holly Humberstone Sub Atomic Party Cool - Beach Riot 30 - Adele The Nearer The Fountain, More Pure The Stream Flows - Damon Albarn

ARTISTS Joy Crookes Doja Cat Ashnikko Penelope Scott Skylar Mother Mother Gorillaz

SINGLES

All Too Well (10 Minute Version) - Taylor Swift Switch - Biig Piig Rhinestone Eyes - Gorillaz Subaru Crosstrek XV - Hobo Johnson Dark Red - Steve Lacy So Hot You’re Hurting My Feelings - Squirrel Flower Everything Is Embarrassing - Sky Ferreira Two Slow Dancers - Mitski Chaise Longue - Wet Leg Coming Soon - Annie DiRusso Up Granville - Peach Pit Look Out! - Peach Pit Come Over (Again) - The Crawlers Why’d You Come In Here Looking Like That? CLT DRP Good Ones - Charli XCX LITTLE NOKIA - Bree Runway Pop Star - Coco & Clair Clair

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ANGELIKA JUSZCZYŃSKA:

POOL VALLEY SUCCESS Angelika Juszczyńska sits down to discuss label management, work-life balance, Pool Valley Music’s biggest achievement and feeling like Simon Cowell.

By Charley Murfitt After a crazy covid fraught year, Angelika Juszczyń ska, a digital distribution assistant, sat down with me to discuss the inner workings of the Brighton based record label, Pool Valley Music, where Juszczynska was record label manager alongside Isabelle Elers from 2020-2021. Fitting into Juszczyńska’s busy schedule was a challenge. Her new role at Ninja Tune, one of the world’s biggest independent record labels, demands so much time from her so we met over zoom - just like old times.

Pool Valley Music was sinking when Juszczyńska and Elers were asked to be the new face, turning a mismanaged brand into the thriving independent label it is today. The pair had big ideas to turn Pool Valley from a promotions company to a record label with goals of giving it bigger visibility online and spreading the word across the country. Pool Valley is now a student-run, nonprofit record label giving exposure to rising artists in Brighton.

Starting off hosting gigs for BIMM Brighton students, Juszczyńska, a music business student, and Elers, an event management student, put on gigs at iconic Brighton venues like Patterns in their first and second year of university. In their third year, the dynamic duo were scouted to run Pool Valley Music, breathing new life into the brand and consolidating its place in the Brighton music scene.

Delving into the business end of things, Juszczynska spoke openly of the trials and successes of working as a pair; “Issy has good attention to detail- and I have control issues”. The pair split the roles down the middle to avoid stepping on each other’s toes with Juszczyńska focussing on the admin whilst Elers focussed on human resources alongside artist and repertoire. Nonetheless, Juszczyńska, spoke of clashes in the workplace... Naturally people don't agree on everything but at the end of the day “[they] were best friends as well as colleagues and good motivators for each other.”

As we sat chatting through a Thursday afternoon, I was curious about what responsibilities a record label manager at a boutique record label had to take on. Juszczyńska replied, “Everything!” Being the manager of a boutique label didn't leave much room for departments or teams full of people to fall back on. The pair delegated more creative roles like PR campaigns to their employees but tidied all loose ends; “the boring stuff: distribution, file storing, managing employees, admin, the tech side of the business”. They also had a final say on what was released - it was their label after all.

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Joanna O

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Joanna Olesky

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“IT MAKES YOU FEEL LIKE SIMON COWELL”

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Joanna Olesky

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When asked what a typical day looked like, Juszczyńska offered a play by play: morning - wake up and check emails for anything urgent. If there’s none, check the to do list on their project operation system and add to the to do lists. Then, a follow up with the campaign team. Lots of calls thanks to lockdown, “it's not like I could just grab a coffee with

SUCCESSES OF POOL VALLEY Campaign achievement: Artist Matilda had her single ‘Call It Rain’ added onto to Spotify’s playlist Editorial Jazz UK

Added to Musosoup’s ‘5 Independent Record Label We Love’ list

Asked by the Association of Independent Music to put themselves forward for the AIM Awards for Best Independent Record Label of the Year.

people”. Then admin and invoices. Distribution.

Check how things are performing and their statistics and then a brainstorm lunch with Elers.

Listen to artist submissions sent to Pool Valley which Juszczyńska declared “made [her] feel like Simon Cowell!” Then the day ended with researching magazines and venues. A busy day to say the least, on top of her assignments no less!

This, of course, alludes to the highly contentious topic of a work life balance. “This industry can really easily burn you out” says Juszczyńska as she offered words of advice, “not everything is urgent, it doesn't hurt to leave things until the next day sometimes. It's too easy to get twisted in work and just burn out”. She went on to mention how this is easier in professional jobs with bigger teams and a set work day; start at nine and finish at five.

We moved onto more reflective topics. Whilst Juszczyńska left Pool Valley after graduating, the skills she formed in the role have stuck with her.

During her time at Pool Valley she switched the brand’s distribution deal and taught herself the ins and outs of distribution, “that skill set wasn't something I was taught at university”. The skills Juszczyńska acquired through her time at Pool Valley have proved invaluable in her new role as a digital distribution assistant.

The interview rounded out with more advice to those who want to follow in her footsteps. Of course, networking cropped up a lot: attending conferences, mixers, gigs. “If you want to work in the creative side of record labels, it's about who you know. Do your research on who works in management at record labels. If you see them, get them a drink, talk to them and be proactive.”

Promising things are on the horizon for Angelika Juszczyńska. We can't wait to see where Juszczyńska and Pool Valley go in the future.

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“stay safe”

“cover your drinks”

“stay in a group” “don’t wander off ”

By Rachael Garvey

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These comments are all too familiar on a night out from the concerned parents of freshers. As spiking cases rapidly grow in the UK, I feel I must stress that this is not a new issue; women and AFAB individuals especially have had to get used to the fact that their hen do’s, birthdays, and standard nights out inevitably carry an air of caution. Quite the buzzkill, really.

When I first went clubbing at eighteen, the first thing my mum did was tell me to put my friends on the phone and promise we would stick together: don’t let a single person out of your sight. Despite the fact my first night out was one of the best of my life, my mum’s immediate caution was troubling to me.

But, who could blame her? Was it our job to stick together, to cover our drinks and keep vigilant in a venue that should have customer safety at the top of its priority list?

The solution is not that we need to add extra caution when going on our nights out, but that the venues we attend need to take better care of us. When Brighton Tempo contacted local Brighton venues to see what security measures were being put into place in order to avoid spiking cases growing, responses were mostly uplifting: Brighton’s seafront club Pryzm noted that their highest priority is the safety of their guests, and that they are working closely with Brighton Police in order to give more protection to their customers.

Pryzm also detailed their precautions set in place to guarantee club goer safety, outlining that their staff are all fully trained for instances of spiking, noting that staff members know which signs to look out for and know what actions to take place should the situation need it.

Other precautions in place include entry searches, metal detectors, taxi rides home and anti-spiking devices; clear cups, anti-spiking bottle covers, and protective drink covers allow a bit of extra safety when drinking. All of these safety covers are free to order at the bar!

When we asked Revenge, a central fixture of the local gay community, what measures were being put in place to protect their customers, they merely told us to check the Instagram post they made!

The post in question outlined their precautions as follows: unattended drinks will be disposed of, free drink covers will be given upon request, additional training for staff is to be given so that they know

what signs to look for when it comes to spiking, as well as more routine searches and posters telling perpetrators “don’t do that!”. Despite all that, as helpful as it may be to train staff who should have already been trained, you still can’t take your drink into the smoking area in order to avoid it being unattended.

We contacted local clubs Chalk and Patterns with the same question, but they failed to reply on the topic, so do with that what you will.

While the measures coming into place in Brighton’s local clubs are a good thing, it needs to be said that it is not the customer’s responsibility to ask for a drink cover. Measures such as drink covers, searches, and metal detectors should already be in place as our safety should always be the highest priority. Your staff should already have the training to spot spiking incidents once you hire them. People shouldn’t need to wear puffer jackets on a night out to avoid being injected with a needle, rumour or not.

Blatant victim blaming helps nobody, and to put all the responsibility of safety on your customers is one of it’s highest forms.

That being said, if you find yourself in an unsafe situation while on a night out, resources are in place to assist you. Strut Safe are an organisation that allow you to call their hotline while on your way home, simply call 0333 335 0026 between 7:00pm3:00am on Fridays and Saturdays, and 7:00pm1:00am on Sundays, and a volunteer will chat to you while walking home late at night. Information on volunteering is on their Instagram page @strutsafe.

If you, a friend, or anyone else you see in a club have any of the following symptoms, it’s imperative that you take them to the bar or security immediately: wooziness, feeling drunker than expected, mental confusion, slurring and speech difficulty, loss of memory, nausea and vomiting, seizures, muscle spasms and loss of consciousness. These symptoms were sourced on Better Health’s website, where you can find even more information on spiking.

We at Brighton Tempo stress the importance of customer safety, and while measures coming in do allow people a little more leniency in their caution, it’s still advised that we look out for each other and keep one another safe when venues don’t provide that safety. Enjoy your nights out; you deserve them.

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WHAT’S ON

By Charley Murfitt

Pip Millett

Current Joys

Sunday 16th January 2022 Patterns

Thursday 10th March 2022 Patterns

Lamplight

Alfie Templeman (support from Pixey)

Thursday 27th January 2022 Brighton Electric

Saturday 12th March 2022 Patterns

Purity Ring

The Undertones

Saturday 29th January 2022 Chalk

Thursday 17th March 2022 Chalk

Snayx

White Lies

Saturday 29th January 2022 Green Door Store

Friday 18th March 2022 Chalk

Caribuo

Petrol Girls

Sunday 30th January 2022 Brighton Dome

Friday 18th March 2022 Green Door Store

The Kooks (support from The Snuts)

Stereophonics

Saturday 05th February 2022 Brighton Centre

Saturday 26th March 2022 Brighton Centre

Yonaka

Still Woozy

Thursday 10th February 2022 Chalk

Sunday 27th March 2022 Chalk, Brighton

The Stranglers (support from Ruts DC)

Sam Fender

Thursday 17th February 2022 Brighton Dome

Wednesday 30th March Brighton Centre

Hobo Johnson Thursday 24th February 2022 Chalk

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Rachae

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Rachael Garvey

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Brighton Tempo issue 1 Brighton’s new seasonal culture magazine by and for students

Editor: Charley Murfitt

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