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The Kaje is all about the arts; from the upcoming and underground through to the commercial mainstream. If it has creativity at its core, we want to know all about it.

Summer has come and gone already. Doesn’t it suck as we head into yet another autumn? But not one to complain, the impending autumn will be full of gloriously rich colours and vibrant sounds. With the change in weather, the arts world will move back indoors. A few remaining festivals close off the summer, before we all return to our shelters and hide from the impending rain.

needs

And as September arrives, so came the rush to complete our latest issue. I have to say in many ways, this issue has been the most enjoyable to date. Having fallen into a rhythm, The Kaje has been lucky enough to enjoy an array of festivals and a boost in readership.

We are currently recruiting contributors from diverse geographical locations.

This month we not only have the lovely Stornoway on our front cover, but interviews with many of who we deem to be music’s hottest upcoming talents. Eliza Doolittle proved to be the summer’s hottest blog interview, so we are delighted to have the had the chance to feature her in the magazine. Example goes from strength to strength in the pop charts whilst Nottingham’s Dog Is Dead proved they didn’t mind the rain when we met them.

If you woul like to be considered please do send along your details to editor@thekaje.com

Writers, photographers and creatives are all needed!

Jeremy Williams Editor

We would love to hear your thoughts about this issue. If you like, or even do not like what you find, then please do let us know! Feature and Review suggestions are also welcomed. thekaje@thekaje.com

The Kaje Crew....well, a couple of them anyway!

Alex Deller: Having just finished a degree in Business Management I am trying to get back in touch with my creative side, which I sadly have lost contact with over the years. Oddly more obsessed with money than most and am religiously stubborn with the type of ‘art’ I follow and will engage with.

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YOU!

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Jason Newton: Confidence, career and motivational coach. As director of Grove Hill Coaching, I work with people to help them achieve their personal and professional goals. I write the ‘What’s Life Got To Do With It?’ / ‘Tough Love, Soft Hands’ column talking about life, work and how to find your personal happiness.


Contents... 4. K Anderson. “As a teenager all I really listened to was music by lesbians.” 6. Levi Miller. “I thought it was great you could be famous enough to have your picture on a pencil case.” 8. Eliza Doolittle. “I have something to work towards rather than something to live up to.” 10. Tye Matthew Harris. “I believe a point comes when you have to change things in your life.” 12. Dog Is Dead. “We’d like people to think of us a a choir and an orchestra making music.” 16. Chris Anthony. “It is much better to be inspired than think up new ideas if that makes sense.” 18. Example. “I just want people to take my music for what it is.” 20. The Milk. “We just play really well with each other.” 22. Motion City Soundtrack. “We are like family. We have learned to live around each other” 24. Freemasons. “It’s only a matter of time before albums get released as apps..” 26. Tara Mathew. “I just feel transported to a different world when I perform.” 29. WIN! WIN! WIN! WIN! WIN! WIN! 30. Stornoway. “A living, breathing Mark Twain novel.“ 34. A Word Of Advice. 35. Forgotten Gems. Album: Shelby Lynne “I Am Shelby Lynne” Book: Jim Thompson “The Killer Inside Me” Film: Rebecca 42. Designer of the Month. Robot Alien Clothing 44. Reviews.

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“We were mistaken yesterday for Patrick Williams.”

Having been described as everything from “hot, posh and talented” (The Telegraph) to a “novelty act” (The Independent), Patch William found themselves thrust unexpectedly into the spotlight when they received an Ivor Novello nomination. Rather than let the acclaim go to their heads, the quartet are determined to turn the attenion into long-term success.

Ed: Will is our songwriter and he and I are brothers, so that is where our initial connection comes from. Then I used to be in a band with George and will wanted a second guitarist to add some lines to everything, so got hold of George. Then it was our Dad who played bass for about a year. We eventually recorded our first album with Steve and whilst in the studio needed a cellist. George knew Ali from way back when.

First things first, how did you the band get together?

Ali: George’s Mum is my God-mum and my Dad is his God-dad. So we are God-siblings.

K Anderson 4 TheKaje Kaje 10 The

Words & Image: Jeremy Williams


It is a reasonably sunny day when I meet K Anderson at Clissold Park in Highbury, London. The meeting is last minute, having tried to find a slot in both our schedules when we have a few minutes free for a chat. Having found that we only have an hour to organise images and an interview, we head to the park to help K find his younger self. For those who are regular readers of The Kaje, K will have become a regular face with numerous blog entries about his activities since we got all our facts wrong when we talked about his debut single “Shrug”. Having talked about his complicated background, K tweeted a response saying he loved the mention but the facts were all wrong. This meeting is our chance to set the record straight. “It is all a bit complicated really and I get bored of trying to explain it all. But the facts are this, I was born over here, then I moved to Australia and came back aged 22.”

“I found that I was talking to everyone about my bed, and in some cases people thought I was coming on to them.” Simple as that really. So, with the complex life story corrected, our conversation turns to more pressing issues, including his newly released debut album “The Overthinker” and his ongoing YouTube series of musical collaborations known as “In Bed With...K Anderson”...

was 18 or so. We had this really intense relationship for a while, all her friends didn’t like me. One of her friends said they didn’t like me because I thought too much and that is something that has come up many times since then.” Having been told that he can far too introvert in his thought process, K Anderson’s exploration of his own circumstance is justifiably titled “The Overthinker”, but K’s effort is more about communication that introspect. “Sometimes you listen to a song for a long time, then someone explains to you what it is about and there is that moment of ‘ahhh’. I don’t really like songs like that as a rule. They are just pretty words, they aren’t speaking to me. I try to get a point across that people can understand.”

“As a teenager all I really listened to was music by lesbians. It kind of infiltrated me.” “I should say, that when I first moved here I left my guitar behind and said I’m not doing music anymore. It took about 6 months before I felt the need again. That was mostly because I didn’ have any friends. I spent lots of time on my own, so had lots to write about. Lots of thoughts that were whirring around in my head.” Having used music as a kind of therapy, a lonely K found that it was through his writing that he found friends again. Though the open mic circuit in London was far “more competitive” than in Melbourne, he soon found like minded people who could share a creative journey.

“I bought a new bed last year and it is a super king size bed. I found that I was talking to everyone about my bed, and in some cases people thought I was coming onto them. But it was just my genuine excitement about my bed. So it grew from that, I get to show the world how I have an amazing bed. It is me saying I am proud of my bed.”

Now, with his album ready to meet, K feels just about ready to tell the world of his plans. “Whenever I meet people at parties they always say to me “how do you describe your music?” I really struggle with it, as I hate people who are like “I’m really amazing and I do this”, so I have always been a bit coy and shy. I just say I play guitar and stuff, but that doesn’t really work for people.” So far the series has seen duets with Kal Lav- Having his own sound as “lesbian songs sung by elle, Antonio Lulić and Fiona Bevan, but K prom- a boy”, K explains that this is more of a nod to his ised a move away from music to all areas artistic own influences than a statement. “I coined that - including how to make your own nipple tassels! term because as a teenager all I really listened But enough on fluffy frolics, we are here to talk to was music by lesbians. It kind of infiltrated me. serious business and that means his debut al- Well, she is not a lesbian, she is bisexual but Ani DiFranco is really up there. Jill Sobule is another bum “The Overthinker”. one. A bit later on I really loved Tegan and Sara, “I went back to Australia to visit over Christmas but more in terms of ongoing development as www.kandersonmusic.com and I met up with an old friend who I met when I they came later.” www.thekaje.com

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LEVI MILLER

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Words and Images: Levi Miller I’ve always had a thing for iconic imagery. The earliest memory I have of this is way back when I was around siix years old and my father was painting the living room. There were white sheets over everything and the record player was blasting music. I can’t remember what it was, but I remember finding my way under the sheets to the drawer where all the records were kept and looking at the images on the sleeves. Then I looked through the pictures on the front of all the cassettes. I remember Simple Minds, The Eagles, Lionel Richie and Patsy Cline. There were loads more. Even when I hear these artists now, it’s those old sleeve images I picture. I remember having a Michael Jackson pencil case too. I’m not sure I even knew who Michael Jackson really was at the time, but it had his ‘Bad’ sleeve image printed on it. I thought it was great you could be famous enough to have your picture on a pencil case. I think attractive and eye-catching imagery interests me so much because I have quite a short attention span. I can focus quite well on things I am doing, but if something doesn’t interest me my brain just seems to flick a switch after a short while and I stop paying attention, stop listening and start allowing my eyes and ears wander about to pick up on something else.

down and looked through them and laughed. Even though the photos were rubbish, I loved the idea of being able to capture an image in a little box and have an actual photo replica of what your saw right there in your hands a few days later. I think that is why I still have a huge love of analogue photography. The instancy of digital takes away a lot of the magic for me. You don’t get the excitement, waiting to see what your pictures look like. Digital is brilliant, but a little too efficient sometimes!

“I loved the idea of being able to capture and in image in a little box.”

I always knew I wanted to do something in media as a career. actually, I initially wanted to be an actor. I attended an acting school for some years. When I was eleven years old I hit a car while cycling home from a friend’s house and made a complete mess of my teeth. Being a child, I thought it was the most noticable thing ever, like having a huge neon sign on your face. I continued to attend acting school but my confidence steadily disappeared and I eventually left when I was sixteen. I decided I could work be“I thought it was great you hind the camera rather than in front of it. I would write stories and scribble down script ideas and could be famous enough to got really into writing in general. When I finished have your picture on a pencil school I applied for a journalism course at university which I didn’t get. My mother heard about a case.” media production course and I decided to go for The first time I remember using a camera apart that. That’s where I started to learn about phofrom on holiday was when I was about nine. My tography and studied it during my first two years. uncle had borrowed our camera for a trip and It was film I really wanted to get into initially. I returned it while my parents were out. He gave wanted to create really stylishly shot features. At us three rolls of film too as a “thank you”. Being the start of my studies, we had to research some a kid I figured my parents wouldn’t know about portrait photographers for a project, and I found the rolls of film. I took the camera and one roll a book of Herb Ritts’ photography. I recognised and went out to play on our street. My home in a lot of the images straight away and completeDublin is next to a stadium and there was a big ly fell in love with his work. I remember seeing match on that day, so my friends and I went up Madonna’s ‘Cherish’ music video as a child and to the main road and I took pictures of them fool- loving it, so when I found out Ritts had directed ing around being stupid. We even managed to it, I was sold. He became a sort of role model. I get some policemen to stand in the photos with became completely immersed in his stuff along us. It was a total waste of film. It never occurred with Cindy Sherman, Richard Billingham and to me to take the film out of the camera and my Philip-Lorca diCorcia. Looking at their work gave mother noticed it and got it developed. I almost me the same excited feeling I got when I looked died when I got home from school one day and at those record sleeves years before. I bought a she confronted me with a closed pack of prints. Phoenix SLR for my project work and the love of She didnt really get that annoyed though, we sat photography just snowballed from there. www.wix.com/levimiller/index

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ELIZA DOOLITTLE

22 year old Eliza Doolittle may hail from showbiz pedigree; her Grandma is Sylvia Young and her parents the West End star Frances Ruffelle and famed director John Caird, but this summer has seen Doolittle take the British charts by storm without any mention of her background. Her quirky styling and stunning vocal speak for themselves, making Doolittle one of the most exciting British talents of 2010. Sure, she may not have been as hyped as Marina, Ellie or Diana but her talent does the talking for her.

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We would comment on the blissful melodies that will have you humming and whistling for I first played the piano when I was five but gave days afterwards. Your album is currently ridit up for a while. I then rekindled my relationship ing high in the charts, can you tell us a little with it when I was about fourteen. more about the album as a whole? When did you realise you could make music a full time career?

For me it’s a diary, a collection of entries! Songs coming from all sorts of observations and feelings.

I always loved the involvement in writing songs as well as just singing songs I loved. I just stayed Where do you find your inspiration for the really focused from about thirteen years old. I lyrics? had no other option in my mind about what to do as a career. I am mainly an observational writer, I write about what I see, whether it’s something on the news, Who would you say have been your biggest or something I see on the street. Sometimes I’ll music influences? just need to get something off my chest or have a particular message I want to get across. Well I was firstly really into Lauryn Hill and Destiny’s Child and actually a lot of old school garage “I am mainly an observational writer, I when I was younger, then I opened up my mind to all sorts of things. From Radiohead to Stevie write about what I see.” Wonder to Red Hot Chili Peppers to Jeff Buckley to Beach Boys to Steely Dan to anything good Your next single will be “Rollerblades”. Can you tell us more about the song... really! I like to think it’s all gone in one ear, made a big moosh and come out of my mouth all toThis was the first song where I really found my gether as something new and different. own sound. I think because it came out so naturally, it made me even more excited. It’s about “I have something to work towards making sure you know what you want before rather than something to live up to!” you take your shit out on other people around you. Knowing that we all are in it together and go If you could collaborate with any artist, who through the same as each other. I believe that deep down we all have very similar interests, would you choose to work with? everywhere around the world. Stevie Wonder! The album’s success has raised your profile You have been launched at a time when the immensely. How are you coping with your industry is seeing a real spurt in the female new found success? soloists, yet you haven’t suffered the same over-hype as many of your contemporaries. I still feel exactly the same. Just a bit busier. Do you see this as an advantage or disadvan- That’s all! tage? What would you say has been the highlight An advantage for sure! I have something to work to date? towards rather than something to live up to! I think the whole experience of my debut album How would you define your sound? coming out. All the gigs around the release and since. Just the fact that all my hard work is on a I find it difficult to describe myself and lots of peo- tiny little compact disc for anyone to own! My first ple say lots of different things so I like best to let born! www.elizadoolittle.com other people describe! How would you describe it? www.thekaje.com

Words & Image: Jeremy Williams

When did you first pick up an instrument?

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Tye Matthew Harris Nineteen year old Tye Matthew Harris may be a familiar face to some of you. Like many aspiring performers, Harris tried the reality TV route for the fasttrack to fame and fortune. Yet, something did not feel right and Harris knew he was not ready for the next stage, so was not dissapointed when his brief journey came to a close. However, Harris was not dissillusioned and has instead gone back to his roots and can now be seen as Hanchen in ‘Spring Awakening’.

I’ve been involved in theatre since I was twelve, when I joined a local operatic society who were performing ‘Carousel’. As it wasn’t a very modern show I found it hard to get into but when I did Can you tell us a little bit about your back- I loved it and it still remains one of my ground? favourite shows. From a very young age I’ve always had a strong I then worked my interest in all areas of performance, Acting and way up through singing mostly and deep down I’ve always knew the chorus to play what I wanted to do with my life. Admitting that leads roles for however was always harder. Going through them, at the age of school being the only lad who wanted to sing 15 I played Cookie and act, always made me doubt myself because in ‘Return to the Forbidden Planet’ which was a it made me different. Obviously when you’re try- wicked part. ing to fit in with everyone, it’s not always good to stand out, but as I matured I learnt that being Shortly before this I auditioned for the National different is a good thing and I realised I wanted Youth Theatre and I was lucky enough to be offered a place. I took part in some workshops with to pursue a career as a performer. them and some courses which were very beneficial to me and I learnt a lot about the craft, and myself also.

“Going through school being the only lad who wanted to sing and act, always made me doubt myself because it made me different.” You auditioned for the X Factor - how did you find the experience? I found the whole experience rather daunting to be honest. It was just very nerve racking and there was a lot of waiting around but it was a brilliant experience and I wouldn’t change it for the world. It was definitely an eye opener... Would you ever wish to try out for reality TV again? I considered going back to the X Factor again this year, but due to other commitments, I didn’t have time. When I took part in the X Factor a few years back, I think I knew in myself I wasn’t ready for a big change in my life at that point. 10

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“I believe a point comes when you have to change things in your life, even if you’re not ready for it.”

of sexuality. The show itself covers a lot of issues such as the portrayal masturbation, abortion, homosexuality, bondage and suicide. I play the role of Hanchen who is a very interesting young man indeed. He is very much laid back but at the same time he is very in control, he prefers to sit back and let things work for him rather than get his hands dirty. He is probably one of the only teenagers who is completely comfortable with himself and willing to go after the things he wants, which just happens to be one of his young, naive, male friends.

Words and Images: Jeremy Williams

However, I believe a point comes when you have to change things in your life, even if you’re not ready for it and I believe I’m ready to start taking things seriously. So if any opportunities do arise in the future, I’m going to snatch them with both hands.

What is most daunting about Hanchen?

His masturbation scene. He is very sexual being and he is completely comfortable with it. Obviously, for a man masturbation is a completely natural thing and at his age he is exploring his What has been your most memorable role? sexual identity but as an actor portraying that for an audience is slightly embarrassing. So thereI played Mark Cohen in a production of ‘RENT’. fore I’ve had to just get past the giggling and be The musical has got to be one of my all time fa- mature about it and it does make the scene rathvourites, so to be a part of it was amazing. The er funny, so it’ll be worth a bit of embarrassment whole cast really fitted together and the experi- when the curtains go up. ence was immense. The music in the show is very versatile and eclectic, and the whole meanSpring Awakening opens on September 1. ing behind the songs and the story is brilliant. www.arena.wlv.ac.uk What made Mark my favourite character to play, was mainly because he is the heart of the group, he keeps everyone together despite himself and although he is very on his own, he feels for everyone, so it was nice to play that role. What is your dream role? That is actually a really hard question. There are so many different roles I’d love to play, all for different reasons. From a musical theatre angle, I’d love to play either the Phantom in ‘The Phantom of the Opera’, Link in ‘Hairspray’ and Fiyero in ‘Wicked’. They are all amazing roles with some brilliant music attached to them. You are taking on the role of Hanchen in ‘Spring Awakening’ can you tell us more about the piece and the role? ‘Spring Awakening’ is a relatively new musical based on a very controversial play by Frank Wedekind.The show is set in late-nineteenth century Germany, and it’s all about teenagers who are discovering the inner and outer tumult www.thekaje.com

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Words: Katie Meehan

Dog Is Dead Words: Constantinos Kypridemos Image: Jeremy Williams

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Last month The Kaje ambled down to Summer Sundae to meet Joss, Robert, Lawrence, Trev and Paul who make up Dog Is Dead, a five-piece who hail from Nottingham. Following the positive reviews of their debut single “Glockenspiel Song”, released in June, they are following this up with “Young” this month. Simplest question first - why Dog Is Dead? We found Dog Is Dead in Shakespeare’s “Richard III” used metaphorically. It seemed like a nice thing to use. Your sound is very distinct, how would you describe it/want people to think about it?

A variety of publications “defy” their readers not to like Dog Is Dead. How does it feel that in a relatively short space of time you are becoming so popular? It’s great to have people challenge their readers in that way; it’s all part of gaining momentum we suppose. We love that sort of talk but think we have a very long way to go still.

“It’s always good to be as honest as you can with your music and never forget how important building your local fan base is.”

How was the Glastonbury experience as a We’d like people to think of us as a choir and an band? orchestra making pop music rather than a band. That will take a little while to get across though. Incredible. We had a full tent full of great people and the response was unreal. In terms of your musical influences Cap’n Jazz are always mentioned - what in particu- What’s the one high point of the band so lar drew you to them? far? A friend introduced us to American punk and emo music years ago. There’s something about how raw it is that is always a charm.

Glastonbury can’t be far off - being the only unsigned band to be on the BBC2 highlights was pretty special too.

“We’d like people to think of us as a choir and an orchestra making pop music rather than a band.”

“Young” is out on the 20th September, what comes next for you? Touring? Album?

Who else really influences your sound? Mainly pop music from bands such as The Police, Dire Straits, Paul Simon. We’re also big into Grunge bands like the Pixies and Nirvana. We’d be surprised if you could find something that doesn’t influence our sound, but we guess we’re a pop band. The artwork to “Glockenspiel Song” is very unique, with the wood pigeons and what looks like a 0.22 air rifle - was there a conscious choice to use that particular cover? “Glockenspiel Song” is quite a bright and uplifting song, we thought it’d be cool to mix things up a bit with a darker edge to the cover art. We guess children with firearms is quite striking imagery...

Touring. We’re getting around the country. It’ll be our first experience of many dates in close proximity, it’s exciting. Let’s see how the next single goes before we think about the album. Is there any advice you would give to new bands? Anything that you did which you would advise others to avoid? We probably aren’t in a position to give advice yet, we’re still making our own mistakes and growing from them. However it’s always good to be as honest as you can with your music and never forget how important building your local fan base is. “Young” is out on 20th September. www.myspace.com/dogisdeadband

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Chris Anthony

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Following the end of the three month long “Art from the New World” exhibition at Bristol City Museum & Art Gallery, we caught up with US-based photographer Chris Anthony to find out about vintage French photographic lens, working with the Dandy Warhols and My Chemical Romance, and just what’s what in the world of Chris Anthony.


Words: Constantinos Kypridemos Images: Chris Anthony Firstly, why photography? Of all the mediums available what drew you to this particular one, and do you ever think there will be a time that you may move into another one? The short answer is I love making images and since I can’t draw or paint, I use a camera. One day I will take a drawing class and then hopefully fulfill my dream of painting large canvases!

“It is much better to be inspired than to think up new ideas if that makes sense.” What are your influences, both creatively and photographically?

and the versatility of the camera is unrivaled. I am less and less interested in digital manipulation in general, and I’m certainly guilty of my share of it. I’ve always done all my own retouching/compositing and it’s actually a lot of fun to do, but no matter how good the final results are there’s a veritable loss of soul that takes place the more you run an in image through the digital grind, in my humble opinion. I learned photography in the darkroom and I still am learning very old processes such as wetplate and platinum printing and I don’t want to come across as some photography purist, but images made in an organic way are simply so much more beautiful.

“I’m probably known in different circles for different things, but I definitely don’t mind that a lot of people connect me with the My Chemical Romance work.”

Everything and anything. Composers like Debussy and Satie inspire great cinematic images, so I always daydream with their music in the background. From authors like PG Wodehouse and Truman Capote. I see at least 6-7 films a week so I undoubtedly derive much inspiration What’s your favourite lens at present? from moving pictures. Ideas, though, or rather It’s a French lens from the 1860s. I love it for themes, come from different places. portraits. Especially in color as the glass is not Sometimes from deep within myself or childhood. coated and not intended for color films and so it Or from the newspaper. I’m finding though that it always yields interesting results that are wonderis much better to be inspired than to think up new ful and sort of muted. ideas if that makes sense. I think I’m more influenced by filmmakers and painters. People like Orson Welles, David Lean, Terry Gilliam and lots of others. Painters I love are Ensor and Bacon and Millais. Certainly there are photographers I love too; Julia Margaret Cameron, Joel-Peter Witkin, Sarah Moon and Sally Mann.

We have to ask about the My Chemical Romance set of images you put together for the “Black Parade” album, how did that come about? Do you mind that a lot of people may know you best for that?

I was approached by Ellen Wakayama who is You are well known for the “vintage” and the head art director at Warner Bros Records. Victorian-Gothic look of some of your work, She had seen some of my work and showed it working with turn of the 19th century lenses to Gerard Way and he thought I would be perand photo software - why use the lenses? fect for his vision. Gerard and I got on very well Couldn’t you get the same effect with only and it was a very happy experience from start to finish. I’m probably known in different circles for digital enhancements? different things, but I definitely don’t mind that a The simple answer is no, you can’t achieve the lot of people connect me with the MCR work. It same effect digitally, and I can always tell when was just as fun a project to work on as anything photographs are manipulated to feel old and it I’ve ever done and the results are a kind of Epic screams artificial to me. I shoot everything with Goth (!) that I’ve perhaps moved a bit away from a large format camera and sometimes I use new today, but I’m still proud of the images. lenses, sometimes very old ones, but the quality of the large negatives is superior to anything digwww.chris-anthony.com ital today (since I usually exhibit very large prints) www.thekaje.com

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Words: Jeremy Williams “It was not a decision, it was just the way it sort of happened. I was fed up with making rap music and started experimenting with other genres.” When Elliot John Gleave (better known as Example) first hit the music scene in 2007, with his debut album “What We Made”, he was immediately hailed as “the new Mike Skinner or the new Eminem. I am not the new anything. I am just me. My music is as electro as it is hip hop, but a song isn’t just about a beat. It is about lyrics and the mood. I just want people to take my music for what it is.” Despite his critical labelling, “What We Made” sunk without trace. Thus, when three years later, Example returned with the poppier “Won’t Go Quietly”, many critics were surprised at his new pop sound. But Example is adamant that he is far from selling out. “I think the way it works, I did my first album which was a hip hop album. But I was still trying to get on Radio 1 with it and have hits with it. They were all still pretty catchy, even though they were hip hop. So that didn’t really get anywhere, so when the label ended, I started experimenting with dance music. I started working with people like Chase & Status and MJ Cole.”

“I just want people to take my music for what it is.” By changing his collaborators, Example underwent a musical re-examination. Far from trying to change genre, the 28 year old was simply trying grow as an artist. “The more you write, the more choruses you write, the better you get at songwriting. You end up coming from an underground place to a really good place. If you spend all your time rapping then you become a really good rapper. I stopped rapping and spent all my time writing choruses. The result is coming up with big choruses, like “Kick Starts”, which I wrote all by myself. There are lots of rappers in the Top 10 but pretty much all of them don’t write their own choruses. So I guess that is what separates me. Then obviously you mix it to a certain standard and level to ensure it breaks the pop market. “ “I never wanted to be underground, hip hop or urban. I just wanted to play big stages to big audiences and get my song on the radio.” Unlike many of his contemporaries, Example freely admits that he wanted to be a commercial success. “It is about entertainment. A lot of artists make music and say it is all about the personal, that it is not to make money or entertain. That it is deep and artistic. That is fine but if you have to remember if you aren’t trying to get music heard by anyone else then you shouldn’t be making music for people. As soon as you play a song to someone else it becomes theirs, they relate to it in their 18

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way. For example I loved Nirvana when I was a kid, but what I made to those songs and what Kurt Cobain thought they were about are just completely different.Kurt Cobain said it wasn’t pop music, that he hated commercial music and the corporate but those songs became pop songs. If you make music without any intention of entertainment, then I think it is pointless and you should keep it to yourself.” With “Won’t Go Quietly” having earnt Example the commerical and critical success he craved, Example is about to hit the road for his second headline tour. “Being the headline means that they are there to see you. The people know your tunes and will react well to what you are doing. When you support someone, you are basically just the warm up. But then again, when I did the Tinchy Stryder support slot lots of people said I was better than him anway.”

“If you make music without any intention of entertainment, then I think it is pointless and you should keep it to yourself.” “I think a lot of people are shocked when they come to my shows. They expect a hip hop show, but I give them more than that. Most hip hop shows are quite boring as are most pop shows. A lot of rappers think they want to hear them freestyle for five minutes, when it fact it is pretty boring. It should be about energy, music and bounce throughout the show. I only play my best songs in the show, I do crowd pleasers. I don’t want to get on my high horse and do something experimental to show I can. If it doesn’t make people sing and dance then I won’t play it.” With his latest single “Last Ones Standing” out on September 11th, a solo tour taking up most of early Autumn, with a Faithless support slot to fill up the rest of 2010, Example has a busy period in front of him. However, he is keen to make it clear that people shouldn’t be quick to keep him contained in the same box for long. “I hate labels, I hate being labelled. I have always been labelled throughout my career. I don’t know what will be next, I have no plans. My album features dubstep, dance, electro, hip hop and a fusion of other styles, but whose to say that I won’t make a heavy metal album next or I could even try funk? If I decided to make a folk record, it would be because I wanted to and not because it is trendy at the moment. The process is simple, people send me beats and if I like them I write to them.” www.trythisforexample.com

www.thekaje.com

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THE MILK 20

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Words & Image: Jeremy Williams


“We just play really well with each other!” declares Rick Nunn, lead singer of the about aboutto-break Essex soul/dance influenced quartet The Milk. Having first pieced together the group in their early teens, The Milk have never really always been about the music. “Basically there was nothing to do really around where we lived, so we formed a punk band and spent our teenage weekends on the M1 going to gigs. But then a couple of years ago, we stopped doing the drugs and decided to give it a real go.” “We just thought that there is no-one else we’d rather be hanging around with and so why not give it another go. We’ve got our own studio and so instead of going down the pub, we get a few cans in and just jam all night.” Making music their social priority, Rick and his cohorts; flat-mate and guitarist Dan Legresley and brothers bass guitarist Luke and drummer Mitch Ayling, set about choosing a name for their new project. “We went through loads of names, many of them based around the so and so and..., as of the old school soul era. But we realised that we also had something more contemporary than those acts, so we chose The Milk. We are just four white guys playing soul.”

“We just play really well with each other!”

days, it isn’t like that. People release singles and albums just get forgotten. We aren’t like that. We want to make sure everyone wants to download or buy our whole record. No fillers.” Having access to their own studio, The Milk are set to head off straight after our drink back to their studio to finish their latest musical number. “We are working with Brad Baloo of The Nextmen but his studio is in Islington, so we often just record the track at our studio and send him over all the bits to work on. It isn’t the most logical of prcoesses but it works for us.”

“We don’t do gigs, we put on shows.” “We are already the best live band in the UK, now we just have to make sure the same can be said of us on record.” Mitch is confident that their calibre on the circuit sets them aside from the crowd. In a break from the current 80s heavy sound, The Milk are confident they can go all the way. “We want to biggest band in the world. If you think about it, U2 are already the biggest band in the world and they are rubbish so it should be easy. If they can do it then we can.”

“For us live is where it all really happens. We don’t do gigs, we put on shows. If you come to see us you will understand. At a gig you get a lot “We grew up listening to our Dad’s record collec- of talking and explaining. We don’t do that. We tions and just took a lot of our sound from there..” just play. We go from one song to the next withHaving been raised on an array of soul and funk, out stopping, we don’t want to stop the enjoywhen the quartet decided to re-assess, they ment and the dancing.” Taking note of how a DJ pooled their shared influences and found that works, The Milk firmly believe that a crowd wants is was the old school that really got their juices to be entertained. flowing. “A lot of artists state that they are making the However, when it came to jamming, they knew music for themselves, that they are exploring that there were many other influences that they themselves in their music. We don’t do that. We had to bring to the fore. “We weren’t really the don’t think people want to hear all that self indulgroup of kids that spent every spare minute go- gence. When you go out you want to let your hair ing to see live bands. We didn’t live near any of down, not hear someone else’s troubles.” With the cool places like Camden, so we went club- their gigs regularly selling out and their fanbase bing instead. The DJs are the Gods of the mu- rapidly growing, it would appear that the former sic industry at the moment. With a DJ you get a punk kids have grown into an exciting soul/dance whole, no breaks. It is full-on entertainment.” prospect. The assured swagger of four musicians makes it clear that The Milk know that with “We were 90s kids and at the time The Verve and their new sound they make have struck gold, but Oasis. If you listen to “What’s The Story Morning at the end of the day they are still four best mates Glory” it is a complete package. Though there having fun. were some singles on there, the whole album The Milk play Water Rats, London on Sept 2nd. worked and you loved every minute of it. Nowawww.thisisthemilk.com www.thekaje.com 21


Motion City Soundtrack

Motion City Soundtrack were back in the UK in August for a quick stop over, giving their multitude of fans a chance to catch them again before hot-footing it back to the US for a tour that lasts until the end of November! So we sent along our intrepid editor to play some hide and seek with them in London...

people file you in the “pop-punk” box, is that something you accept or is it a problem? Well, I never thought of us as “pop-punk”. But I don’t think most bands label themselves anything, we leave it up to other people to categorize us. As far as being a problem, no I don’t think so.

It’s been thirteen years since Motion City Soundtrack formed, what have been the You are the epitome of the hard-working, highpoints for you and is there anything you ever-touring band - looking at your schedule you are in the States at the beginning of Auwould want to change? gust, nip over to the UK for three dates and You know, I wouldn’t change a thing. We have then back to the States for a string of dates made great choices and have been happy with all - how do you all get along on tour? Do you the results. Some of the great high points include get some downtime away from each other or getting to tour with Blink 182 in the UK, playing do you even need it anymore? Wembley and Manchester Arena. It was the first time we ever got in front of a crowd that large, it At this point we are like family. We have learned was mind-blowing. This ride has been fun and I how to live around each other. Some days we are all besties and some days we all hide in our am hoping it continues to be just as rad. own little worlds. One very nice thing for us is “We are like family. We have we don’t live anywhere near each other so when we are not touring we all go home and dive ourlearned how to live around selves in our homes and families.

each other.”

For what may be obvious reasons (to some) 22

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Do you feel that “My Dinosaur” is a return to the edgier sounds of “Commit This To Memory”


Words: Constantinos Kypridemos Images: Jeremy Williams and “I Am The Movie”? Yes, I think when we started writing we really liked some of our more dark/rocking ideas we had come up with so we pushed the record that way. In the end it is a mix of all our records. I think it has a nice balance between old and new. What impact did Mark Hoppus and Andy Wallace have on “My Dinosaur”?

Creatively, are there any areas you want/wish that you could explore, or is it a case that you are a little confined within the pop-punk seen? No, I think we do whatever we feel like writing, whenever we feel like writing it.

“We are here to fight the fight and be heard.”

Mark brings a nice sense of calm to our band and lets us be us. He is that voice of reason that we need at times when we don’t agree. All-round great guy to have steering your ship. Andy really brought out the guitars on this record and made it rock super hard.

How did the “Give A Little Help” competition come about? We really wanted to do something different than just making another video that has no outlet. We have a lot of people reaching out telling us how much our music helped them through some period of their life. That gave us the idea that we should try to expand that and engage theses people that care about our band. We wanted to see if they have any ideas how to help fellow humans and then help them do that!

“I think we do whatever we feel like writing, whenever we feel like writing it.” How has the transition from Epitaph to Columbia Records actually been? Is there anything noticeable for you guys? The transition was smooth. We had signed to Columbia before “Even If It Kills Me” was released. So, it was a slow easy transition.

What is the most difficult aspect of being Motion City Soundtrack? I am not sure. I think we have overcome a lot of huge things in our life and career. We are here to fight the fight and be heard. Life is good.

Does Justin put together the majority of tracks? Or are you bringing all of your expe- What’s the one thing the world should know about Motion City Soundtrack? riences together musically? Music is written with all of us bringing our collective ideas together. Lyrically Justin covers 99.9% of all words. He is a very creative wordsmith I am not sure any of us could even come close to compare.

We come in peace. “My Dinosaur” is out now. www.motioncitysoundtrack.com

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Freemasons Russell Small and James Wiltshire (a.k.a Freemasons) founded their recorded label in 2005 and have since then experienced worldwide success working with artists including Beyonce, Kylie Minogue and Kelly Rowland. Freemasons have an ever evolving concept of the music industry, embracing technological advances in light of decreasing revenues. It is this philosophy which is key to their current and future success. In terms of the internet, how have your distribution and revenue streams changed from the physical buying of CDs to the downloads on beatport and other portals?

Maybe the traditional album led deal structures will have to change as people just don’t tend to listen to music like that anymore - the emphasis is so much more on individual tracks - whether artists and companies can make ends meet like that is still to be seen. You do have to kinda look back and think - how come a technology company like Apple (iPod and iTunes) managed to rescue to industry when it should have been the labels?

Massively and this is only the beginning.. Whilst everyone else is getting caught up looking at the dropping figures we are quite fascinated by the potential for new revenue streams. Once the phone networks get themselves up to speed and music stores on smart phones become more and more sophisticated, I think we’ll see a completely new market open up. Direct music downloads are in our opinion only the tip of the iceberg. It’s only a matter of time before albums get released as apps or as add-ons to apps and much, much more. The whole industry needs to get with the programme though - we cannot have a repeat of them sitting on their hands like they did at the beginning of the internet, if this is going to end up as a fair fight.

“It’s only a matter of time before albums get released as apps.” Do you think music is a form of art which is decreasing in value due to illegal internet downloads? Music has been the victim of its relative file size and hence has been the only art form to progressively devalue. It’s difficult to lay blame anywhere in particular as it’s only human nature to take something for free if it’s available, but now things are levelling out, it will be interesting to see how the industry survives. There will come a point where the major label model in small territories just becomes unworkable and I think we will see some sweeping changes in the coming years, but lets not forget that as I mentioned above new revenue streams are appearing all the time. 24

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Which artists past and present do you draw inspiration from? Purely from a rhythm section point of view (not sonically) we always site Nile Rogers and the Chic band as the grooves from that engine were incredible for the time (lets not forget Nile produced Madonna’s “Like A Virgin” Album). And we both have a huge love of vintage soul and disco as well as the 80’s electronic music we grew up on. Modern producers more than artists inspire us but often the lines are blurred - so many to


Words: Alex Deller name but we’ll try and list the ones we admire key, so from a musical and technical point of view for their technical and/or musical ability : The it has been the hardest mix we’ve ever worked Swedes; Axwell, Angello and Ingrosso. Timbal- on - it sounds fantastic though. and for his ability to make anything groove. Red One for just being Red One. Calvin Harris for just “We will change things about standing out on his own .Will:i:am for being so forward thinking. Guy Sigsworth for just making a bit to fit a club context or if some incredible music. William Orbit for being so we feel it will make a positive off the wall knack in the day… The list will go on impact, but the song is king and on so we will stop!

for us - always!”

When remixing a track do aim to stay faithful to its original form? Maybe not its original form as a whole but we always do everything we can to keep the song intact and it’s what we are always known for and why certain tracks and artists come our way. We will change things about a bit to fit a club context or if we feel it will make a positive impact, but the song is king for us - always! What do you think the UK sound is at the moment? We’ve had a local explosion in Urban music (slightly ironic considering the US explosion in European styled club music) and as I mentioned earlier the lines between pop club and Urban have blurred beyond all recognition. There is however a fascinating undercurrent of left of the field electronic artists bubbling through. UK band Hurts are really kicking off in Europe and will do here very soon and they and others will bring about a new movement in electronica which we believe will start to really shake things up , and for the better - I have to admit If I hear another bad autotuned lyric about the “Club”, “VIP” or “bottle of jack” I will be quite ill and possible start to self harm. This is the ugly side of electronic music and in a few years we’re all going to wonder Of all the tracks you have remixed so far, why on earth some of this world’s great vocalists which has been the most challenging? thought it was a good idea to have every single ounce of natural performance ironed out of their The one we have only just completed - as we vocals. Thank god for Kelis’ “A Capella” though write this we are still waiting to hear back from - an oasis of quality in an overproduced world. the artist and don’t want to jinx it by giving away the title. It is by one of the greatest male solo artAnything you would like to say to all your ists England has produced, and we are on tenfans out there? terhooks till we know if it’s accepted… It slows down in the middle and had to be treated as two We love you for making us feel that every minute separate productions. Also musically it hangs in spent in the studio touches you somehow - that that middle ground between a major and minor is why we do what we do… www.thekaje.com

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Born and raised in Manitoba, Canada, Tara Mathew has always had a passion for music. From a young age, Mathew set about forging a career in music, a career which has taken her to perform from her home country to the UK via a brief stop in India. Now ready to unleash her debut single “He Said She Said” on the British public, The Kaje wanted to know more about her journey to date...

Is “He Said She Said” typical of what we can expect from Tara Mathew?

I like to offer up a wide range of vocal sounds and songs. Though I know it is not ‘accepted’ to sing all sorts of genres on one album, I think it is just as bad for every song to sound the same. My songs all fit the category I call “SoulPop” but they all sound different. They are pop songs with a great deal of soul and passion behind them and You hail from Canada - how did you come to some lean towards pop/R&B while others lean toward pop/rock, but that soulful edge is everbe signed to a British record label? present. I met my record label boss while in India of all places! It’s a long story, but shows how small “I just feel transported to a the world is! We actually ended up performing different world when I perform.” together (as total strangers) in India’s largest Christmas concert, and from there, I was virtually signed on the spot. Pretty cool since I was Do you prefer to record or perform? not chasing after a singing career at that time. Recording is great because there is so much When you were younger, you won the title opportunity to experiment with creativity to the Most Outstanding Jazz Soloist, what made extreme, however nothing can compete with the feeling performance gives. I just feel transported you choose to pursue pop? to a different world when I perform and though That seems to get a lot of media for some rea- I like to connect with the audience, sometimes it feels like I am the only one there which is an son! I won loads of vocal awards as a teen and that was one of many. I won awards for classi- indescribable feeling. cal singing, pop, jazz, Broadway, etc. I do LOVE jazz, but it was never a genre I considered pursuing professionally.

How would you describe your debut single “He Said She Said”? It is a song that encompasses pop and R&B and brings them together for a fun, feel-good song. I’ve always had a thing for ‘feel-good’ songs and I think this fits that category. Plus, it has a great message--an actual point.

“It is not ‘accepted’ to sing all sorts of genres on one album.” Whose sound has influenced your sound? Though I do not think I sound a lot like one specific singer (which is a good thing, of course) I have been most influenced by Mariah Carey, Ella Fitzgerald, Dinah Washington and Lauryn Hill. My earliest influence was Bette Midler with the “Beaches” soundtrack. 26

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Your career to date has been filled with amazing performances, from the Pan-Am Games through to India’s biggest televised Christmas concert. What would you say the highlight would be? Impossible question! I have so many incredible memories of singing in various countries and anywhere from small community events to stages in front of thousands! If you could perform anywhere in the world, with anyone, where would that be? The O2 Arena with fellow Canadian Michael Bublé. What are your hopes for 2010? Well....seeing that my first album will be releasing in October, and my first single on August 30th, I hope to sell lots of music in 2010! “He Said She Said” is out now. www.taramathew.com


T A R A

Words: Jeremy Williiams

M A T H E W www.thekaje.com

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YOUR A DV E RT COULD BE HERE.

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WIN!

To e n t e r, send your name, address a n d a n s we r t o t h e k a je @ t h e k a je. c o m

SIGNED MOTION CITY SOUNDTRACKCDS!!! Question: Who is the group’s lead singer?

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CDS!!!

Question: What is Example’s real name?

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Question: Who is the lead singer of Stornoway?

Question: Fyfe Dangerfield fronts what band?

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SIGNED JOCKBOY26 BOOKS!! Question: What website is Jockboy26 writing about?

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Stornoway Words: Constantinos Kypridemos Images: Jeremy Williams

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Walking into the office this morning with the wind whipping across the nearby university grounds at near gale force speed and the clouds looming overhead, seemingly appearing from nowhere to dent the summer sun of the last few days, the irony of the situation was not lost on me. Today The Kaje was speaking to Stornoway, the Oxford-based band, who are starting to cause their own stir on the UK music scene. The meteorological signs weren’t the best, lets be honest, but I had faith.

“A living, breathing Mark Twain novel.” Since they emerged from the Oxford music scene with the support of “BBC Oxford Introducing” presenter Tim Bearder, the band have gone from strength to strength. The strange mixture of four full time members, namely Brian Briggs (on lead guitar and vocals), Robert Steadman (on drums), Ollie Steadman (on bass) and Jonathan Ouin (on keys and strings), and the two part timers of Adam Briggs (on trumpet) and Rahul Satija (on violin) have fused into one of the bands that you are most likely to tell your friends about. Talking to bassist Ollie Steadman you get the sense that they are a group of intrepid adventurers, and not least because they were boy scouts in their youth. Load up their MySpace and you are greeted with the phrase “a living, breathing Mark Twain novel” – and this is how they see themselves. And once you understand where the band name came from, it all falls into place. Asking the question “So where did your name

come from?” is a perilous one, you just never know what the response is going to be. Only in the last few months answers have included reference to an online band name generator and quite simply “it seemed like a good idea”. So, Ollie’s response to this question caught me off-guard. Basically, the story goes that “a while back Brian Briggs, vocalist and guitarist for the band, went on a sailing trip north. It was a small boat, and was with some friends. One evening they anchored by the Isle of Lewis, west of Scotland’s mainland, about 30 miles off. Unfortunately for them a storm decided to creep up on them during the night, and they nearly capsized, and due to their neardeath experience of sorts they never did reach Stornoway.” And that says everything about the ethos of the band, Stornoway not just being their name but their guiding ethos. This kind of pureness seemingly flows throughout every aspect of Stornoway. Only the day before our interview, Ollie was getting his Masters results from the University of Warwick, and that leads him to quickly dispel the myth of how they met. There seems to be a little confusion over the fact that they reputedly met at university and it was the same one – Ollie quickly puts that right.

“Stornoway not just being their name but their guiding ethos.” As a group they have backgrounds which, to be perfectly honest, are pretty obscure in some ways. Ollie with his own very recent success at Warwick (a chemistry degree with an industrial placement – for those more hardcore fans) is perhaps more middle of the road in terms of www.thekaje.com

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theme. But among the four main members and the two part-timers they include a Russian translator, aformer PhD student who has worked on “Renal Monthly and Neuropathology” in a former life, a couple of doctors and then there is Brian who just “studied duck” for many moons. Moving onto their music, and examining their influences more closely brings out some curious observations. The comparison to Belle & Sebastian is a seemingly well founded one, particularly in view of Belle & Sebastian’s earlier albums. “I Saw You Blink” is admittedly the most Belle & Sebastian of some of their material. But with influences as wide as drum n’ bass, classical pieces and with the current invasion of popular folk-rock, like Mumford & Sons and Laura Marling, this is one band that people may struggle to tag a genre to.

“Then there was Brian who just “studied duck” for many years.” The melodic mix of lingering lyrics and vibrant vocals interspersed with drums, guitars, horns and a host of other instruments, provides a truly alternative sound. A sound which has a depth of soul and has a sense that everything is done for a specific purpose, everything thoughtfully selected. For instance, even the Keyboard Choir remix of “I Saw You Blink” is not just a simple remix. Keyboard Choir are known for their extensive use of audio segments from the original track, something which provides a very pure form of remix, and something which would fit in well with the Stornoway mentality I think. Maybe the Mumford & Sons comparisons that some sections of the media put forward are slightly off the mark. Speaking to Ollie you get the sense that he is appreciative of those kinds of comments but in reality we know that Stornoway are something different. From as early as “The Good Fish Guide”, from inspiration to performance, the band have gone at things in their own way. Stories of Brian Briggs spotting a Marine Conservation Society poster that included a list of fish at a train station, and the band taking this forward as a “wacky” 32

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idea”, only highlight exactly what to expect of them. Speaking to them, you can sense (and they are quite open about it) that they have moved on from this, to a more focused approach to their music. Maturity is coming quickly to the band. From being in the position where they were looking for gigs over a year ago, they are now in the enviable position that they have played quite a few of this summer’s festivals and are getting good press nationally. He concedes they are also probably planning a tour in the near future (The Kaje can confirm this - with the tour going nationwide in November.). The initial and continued support by BBC Radio Oxford, leading to a very interesting version of Tina Turner’s “Goldeneye” for the BBC Radio Oxford’s 2008 Children in Need album has proved to be a solid foundation on which they are continuously building. Ollie admits that it inevitably creates a catch-22 situation seeing the band tour more and more, spending ever-increasing time promoting themselves and leads ultimately to a reduction of time which the band spend writing new material and the like. Given that the current album “Beachcomber’s Windowsill” has been a work in progress since 2006, the band already have time booked out in January to write some new material.

With influences as wide as drum n’ bass, classical pieces and with the current invasion of popular folk-rock, this is one band that people may struggle to tag a genre to. Whilst it was BBC Radio Oxford who first spotted the talented quartert (and occasional sextet), Stornoway have more recently celebrated the move into mainstream national radio play. Unbelievably it is already a year since “Zorbing” really lifted the boys profile. But with two singles before the turn of 2011 and the US release of “Beachcomber’s Windowsill” it would appear that Stornoway are turning into a force to be reckoned with. The single“I Saw You Blink” is out November 8th. The album “Beachcomber’s Windowsill” is out now. Stornoway will be on a UK tour in November. www.stornoway.eu

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Is the grass really greener on the other side? According to my taxi driver this morning, a change is as good as a rest. Maybe it was because I hadn’t had my coffee yet, but I started wondering if that was really true. Is change really restful? What are the benefits of change? I often find that people see change as a quite stressful experience. Certainly initially. The unfamiliar ‘chaos’ can be hugely challenging and quite scary. Especially if it has been imposed on you i.e. if you have been made redundant or at the receiving end of a relationship break up. And yet, change can also be the most exhilarating and powerful situation imaginable! The thrill of the new perspective. You can almost literally see people and Jason Newton your everyday life in a completely new and invigorating way. However, it got me jason@thekaje,com thinking about whether the grass really is always greener. Grove Hill Coaching www.grovehillcoaching.com Think about moving house. According to research, one of the most stress-inducing activities in contemporary society. I accept that many people have an aversion to moving, however a conversation with a friend made me see things differently as she absolutely loves moving and I was curious to know why.

As she has got older, she now moves house almost every year. The practicalities have changed and yet, she still loves the ‘buzz’ of moving. She is more than aware of the irony that the only constant in her life is the element of change, yet she would have it no other way. Perhaps a more cynical person would say that she is commitment-phobic. Or that change for changes sake is not ‘healthy’. All I know is that she is happy and has found something that works for her. Maybe she will find in her future that this is no longer true. I know she will deal with that if the time comes and if anything, embrace more change. But why is change necessary? Is it necessary? Is the grass really always greener? Like most things, it depends how you see it. Or perhaps how you choose to see it. There will always be something ‘better’ elsewhere if that’s how you choose to see the world. However, is that not true for us all? Is it just how we deal with it that differs? If you are happy where you are at in your life, keep doing what you are doing. But if you aren’t, try doing something different. If it doesn’t work, you can go back to where you were before. And maybe the grass wasn’t greener after all. But what if it does work? You then have the choice. You can either go down the newer, ‘greener’ road or you can choose to stay where you are after having reevaluated your situation. And what’s more, you may then get what you want. And greener grass or not, wouldn’t that be the most wonderful change of all!

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The Kaje

Grove Hill Coaching specialises in motivating people to achieve their personal success and to be what they want to be.

She was telling me how when she was growing up, she would move the furniture around her room, even though with only a minuscule room, she could only move her bed to no more than three positions without blocking herself in. She said that she loved waking up with a different view of the world after having done it as it always emotionally and physically energised her.


Sometimes things get forgotten that really deserve to be celebrated. Each month we will be taking a look at an album, a book and a ďŹ lm that warrant a revisit. If you have any recommendations then send them through to thekaje@thekaje.com

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Shelby Lynne Moorer’s life story could have been lifted straight from a classic country song. Born and raised in Frankville, Alabama, life seemed straight forward and simple till she adult life. Her father, who worked as an English teacher and a juvenile corrections officer, played the guitar, while her mother was a singer. Music was central to the Moorer family, with her younger sister Alison also entering the music industry. However, life got flipped upside down when Shelby Lynne was just seventeen years old. Her father was a heavy drinker who was frequently abusive. The abuse climaxed on a fateful day in 1986 when he shot and killed her mother before turning the gun on himself. Shelby and her sister moved in with relatives an worked hard to put the incident behind them. It was not long before Shelby Lynne turned her attention back to music. Just a year later, she found herself signing a deal with Epic. Her fledgling steps towards country music fame were taken in the safe company of George Jones, with whom she duetted upon the Top 50 hit “If I Could Bottle This Up”. Her debut album “Sunrise” was released in 1989 and secured her place in the hearts of true country fans.

“The alt. country sound and the stark honesty were a direct result of a dark, vulnerable and desperate place.” However, as her career developed, Shelby turned her back on her traditional and started to experiment with country pop. A brave move for a female artist who had already achieved success in a more traditional field. Her chart positions floundered but she never caved in or walked away from her chosen field. She knew critical acclaim would be just around the corner. 1998 saw a move away from her comfort zone, both geographically and musically. Shelby setup home in Palm Springs, California and started work on her sixth studio album “I Am Shelby Lynne” with producer/songwriter Bill Bottrell. By her own admission the alt. country sound and the stark honesty were a direct result of a dark, vulnerable and desperate place. Instead of sugar coating reality, she faced up to 36

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Words: Jeremy Williams her journey and her experiences. By allowing herself to be exposed, she opened doors to the listening public and touched hearts unwittingly. In an ironic twist, Shelby Lynne suddenly found herself accepted by the musical mainstream. At the 2001 Grammy Awards, Shelby Lynne won the award for Best New Artist. In her acceptance speech she declared that it had taken her “thirteen years and six albums to get here”. Her journey through the musical wilderness had climaxed and according to the critics she had finally arrived. However, all these facts and figures mean nothing in comparison to the beauty of “I Am Shelby Lynne”. The album had sat in a box since my university days, forgotten and hidden away. Yet my memory of its beauty never dwindled. Therefore as soon as I opened a box and found my lost album, I immediately placed it in my CD player. The dramatic “Your Lies” struck an emotional chord immediately. Shelby’s gutsy delivery enough to send chills down your spine.

“By allowing herself to be exposed, she opened doors to the listening public and touch hearts unwittingly.” For many it was the drama of the bigger numbers than defined “I Am Shelby Lynne” but for anyone who has given the record a real listen, the true beauty lies between the lines. Shelby Lynne doesn’t hold back, be it when she is at full pelt or in her softer moments. What she says is neither profound nor life changing but is frank and upfront. The subtlety of “Lookin’ Up” is heartbreaking whilst the Sheryl Crow-esque “Thought It Would Be Easier” will resound with emotions that everyone has experienced. Whilst “Dreamsome” takes things upbeat with optimism and hope. “I Am Shelby Lynne” must be one of the finest heartbreak records ever made. Everyone has felt it at some point but few have been able to express it so eloquently. “I Am Shelby Lynne” is out now. www.shelbylynne.com

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Jim Thompson wrote prolifically, mostly in the 1950s producing the gritty crime novels that were so popular within that era. The difference in a Jim Thompson novel is the lack of restraint demonstrated by his characters and often by his writing as well. This means that books are produced that subtly and sometimes not so subtly promote acts of violence without consequence, most frequently on those who do not have the power to withstand it. Specifically, in “The Killer Inside Me” we explore the workings of Lou Ford’s mind through his first person narrative. He appears to be a hard working man, working for the Sheriff’s department. He has lived in the neighbourhood his whole life, even though his brother was sent to prison for actions committed on a fourteen year old girl during his teenage years. This idyllic picture is crushed from the opening chapter where Lou Ford, in one telling moment, introduces us to his ‘sickness’ and in conjunction with this sickness his elder brothers’ innocence and his guilt. “The Killer Inside Me” explores this ‘sickness’ of Lou Ford. It is most obviously depicted in the relationships that he develops with the two women in his life. The first Amy Stanton, his girlfriend of many years, is a woman who he sees because circumstances dictate that he should. This relationship highlights the analytic mind that Lou Ford possesses. He creates normality around himself so people believe in that normality. He even promotes this normality by being corny and dumb when he interacts with the members of his community.

his demons but not allowing actual murder to take place. This requires continual restraint which creates the need for release within Lou Ford. The novel is short and quick. Something is almost always happening, although Lou Ford does sit in his house reading and contemplating his situation rather a lot. But those moments of stillness are needed within the cacophony of plot twists, and emotional upheavals that Lou Ford is continually trying to control. Occasionally moments, phrases or actions are confusing, requiring slightly longer perusal and then just abandonment.

Words: Rachel Jacobs

I’m a film noir fan. I love Raymond Chandler and the gritty films produced in the 1950s so when I started seeing this new film being advertised called “The Killer Inside Me”, I was interested. I was even more interested when I discovered it was based on a book written in 1952. So, as is usually the case, I decided not to see the film but to find myself the book instead; never hard when Hollywood has just decided to film something.

The confusing actions and statements appearing throughout Jim Thompson’s work make at appear as if Thompson wrote his novel and did not edit his first draft before it was published. In some senses that rawness is what makes it such an addictive read. There is a messiness about it that allows one to believe that what you’re reading is happening in the here and now and that events and results can still be changed. Michael Winterbottom’s film of the book has gone a long way towards reminding us of Jim Thompson and his literature. A few films based on his work in the 1990s were also very successful, particularly “The Grifters”. But in this sense it is not the book, or the author that is going to be remembered. It is the films. Yes, film is a great medium to revive the novels but this will hardly ever result in the return of an author to the literature cannon. Jim Thompson deserves to be along side his contemporaries, Raymond Chandler, Dashiell Hammett and others of that ilk. But I do not think he will ever be accepted because of his relationship to violence in his novels. Society will not easily accept something into the cannon that depicts such sadomasochism and such violent tendencies without any apology, remorse or justice.

In society we are so afraid of the inability to control ‘bad people’ that we push things from the cannon that would promote the success of ‘bad The second female in his life is a prostitute called people.’ There is no apology and there is no jusJoyce Lakeland, who arrives in the country at the tice for Lou Ford in the true sense of punishment. beginning of the novel and enters into a sado- He never regrets what and who he is. And for masochistic relationship with Lou Ford. Lou Ford that Jim Thompson will continue to be forgotten believes that Joyce Lakeland is the reason that in between the occasional movie revival. But behis ‘sickness’ cannot be controlled. She allows fore he’s forgotten again it really is worth reading violence from him, thereby exorcising some of “The Killer Inside Me”. www.thekaje.com

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In his first American project, Alfred Hitchcock delivered “Rebecca”, a dramatic psychological thriller starring Laurence Olivier and Joan Fontaine. Based on Daphne du Maurier’s 1938 novel it won the Academy Award for best picture in 1940 and it is by far (personal opinion) one of the best psychological thrillers ever made and one of the best Hitchcock movies also. Joan Fontaine plays a young woman (she is never actually named in the movie) who is a companion to a wealthy woman (a hilarious Florence Bates). When they are in Monte Carlo, she is introduced to a wealthy widower Maxim de Winter (a very charming Laurence Olivier) and they fall in love (even though this is a 1940’s movie, so modern women will probably consider him a chauvinistic pig in today’s standards). Soon they are married and sweet innocent new Mrs. De Winter is taken to Manderley, the stately home of the de Winter’s. There the new Mrs. De Winter meets the staff, and also Mrs. Danvers (an absolutely amazing performance by Judith Anderson), the housekeeper. And that’s when the shit hits the fan. You see Mrs. Danvers was just a tiny bit obsessed with the previous Mrs. De Winter, Rebecca. She immediately despises the new Mrs. De Winter and makes sure that Rebecca’s presence is felt around the house, even after she is dead. You see, Mrs. Danvers was a little passionate (in a lesbian manner) about Rebecca. Add to the story a bit of incest (we are left to believe that Rebecca was banging her cousin – a very creepy yet charming performance by George Sanders) and we have all the perfect ingredients for a great thriller.

“Judith Anderson gives one of the Top Ten creepiest performances of all time.” Joan Fontaine plays the main role of the movie, and Hitchcock may have asked her a bit more than she could handle. Even though her character is suppose to be a fragile scared woman, going from an ordinary life to a life of luxury, Joan Fontaine plays her with such weakness that you find yourself routing for Mrs. Danvers everytime these two actresses share a scene. Judith Anderson that plays Mrs. Danvers gives probably one of the Top Ten creepiest performances of all time, manipulating the fragile new Mrs. De Winter to the point of almost guiding her to suicide. 40

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Words: George Mathioudakis Laurence Olivier just appears in each scene to be as charming as possible, and he is great at it. The strength though of this movie is Mr. Hitchcock himself. The direction is flawless and he knew how to manipulate the black and white format to hide things in shadows, or even give them a part of the movie itself. The house, Manderley is a pivotal member of the cast, and not just a set. He is the only director that will take a role like Mrs. Danvers and guide it, not to be camp and funny, but creepy and intriguing at the same time.

“The strength of this movie is Mr. Hitchcock himself. The direction is flawless and he knew how to manipulate the black and white format.” The movie itself is old. Made seventy years ago (wow!), it has all the 1940’s trademarks that movies around that era had. When actors think, the voices of previous dialogues are heard (which is rather hilarious nowadays). Let’s not forget that all actors are speaking like they have just taken a huge fix of “speed”. I still don’t understand why in all movies everyone had to speed so quickly back then. Scripts must have been twice the size that they are now to fit all this dialogue in. Also we have cheesy sets that move quicker than the driving cars, no sex whatsoever rule (just implied of course) and etc. If the movie was to be remade, it would probably get an 18 rating nowadays as the undertones of what the director is letting implied are way too many (lesbian relationship, incest, death, murders, crazy mad woman etc.). Overall the movie, even though it is quite famous, is forgotten as other Hitchcock movies have taken centre stage (Psycho, North by Northwest, Rear Window etc.). It is worth though seeing the brilliantness of this amazing director and how future psychological thrillers have been influenced by this. After you watch this, you will also get a famous pop culture reference that you definitely have heard...”Last night I dreamt I went to Manderley again”...Now I just need to find someone that has the BBC 1979 version of Rebecca somewhere on VHS... Anyone? “Rebecca” is out now on DVD

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DESIGNER OF THE MONTH

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Hello fellow fashion kids, my name is Xander Alan Bliss and along with my partner Dave Ashby, we have created something new for you! Robot Alien Clothing has been here for about 4 years now, but has been secretly developing in a bunker, underground somewhere in England. It’s time to unleash Robot Alien’s upon the world, so you better lock your doors, gather your tinned food and hide out in the attic because Doctor Bolt is about to send out his Robot army to get you! Robot Alien Clothing is an independent clothing line like no other, not only are we a brand but we have our own story and website. We are in the process of making our site awesome before we launch. It shows our animated story that explains where robot aliens came from and showcases our fabulous range of designs. We aim to bring something exciting to the world of t-shirts by keeping to the story and developing it along the way. Dave is the brains behind this operation, he knows his way around a computer like John McCririck knows his way around a

cheese cracker! He designs the t-shirts based on my original drawings and he created the website. I’m the front man, I advertise and send out all the t-shirts, making sure they get to their new owners. I created Robot Aliens when I was a little boy, sat alone in my room drawing all over my walls. I approached David when I was at University and since then we have been slowly creating the perfect brand. Eventually we aim to sell hats, key rings, toys and much more. We hope to one day have our very own Robot Alien shop and we want to give our followers a chance to be a part of Robot Aliens. So stay tuned and follow us on twitter to hear the latest news, events and competitions! (http://twitter.com/RobotAliens) They’re coming for you! www.robotalienclothing.co.uk

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REVIEWS:ALBUMS She Makes War “Disarm” Independent 4.5/5 She Makes War is the alter ego of multi-instrumentalist Laura Kidd, who is finally leaving her many side projects behind her in the quest of solo superstardom. Her already accomplished CV boasts that she not only the lead singer mashpop collective The Young Punx but her former collaborators include Michael Gray and Redroche. The acclaim doesn’t even stop there, with session bassist credits for Tricky, I Blame Coco and even Alex Parks!

Kidd oozes emotion and honesty but never overpowers her listener with their overbearing power. Declaring on “No Fireworks” that she ‘can’t write happy songs’, Kidd is prepared to wear her heart on her sleeve even if the sentiment is somewhat questionable.

But enough of the past glories, I won’t even dwell on the photography sideline, as instead we have what could possibly be the most under-hyped yet equally exciting debut album of the year to discuss. “Disarm” is a culmination of genres and defies labelling in the way you would expect a true DIY artist to.

She Makes War is without doubt one of the musical talents to keep an eye out for. Whilst many of her contemporaries spend their time trying to fit in, Kidd is unashamed in her desire to stand out from the crowd. Whilst “Disarm” is far from un-radio friendly, it also effortlessly distinctive. Jeremy Williams

Singles Of The Month

The Like “Wishing He Was Dead” Polydor There was a time when the term girl group would wreak of cheesy sugarry pop, but those days are far behind us and even Girls Aloud are seen to be cool! However, LA quartet The Like are back with their second album and their breed of cool pop blows the other firls out of the water!

Capac “Pastels EP” ontheshelf 4/5 Liverpudlian three-piece “Capac” have released the EP ‘Pastels’, a collection of tracks typify what they are all about. A mixture of genres like “leftfield”, “prog” and “post-rock” flow throughout the 5 track EP, and bar one track we really have to recommend the trio. ‘Palindrome’ is an unnerving opener, drifting from moment to moment, with an ambiance that is something akin to a feather floating down to earth. The mixture of guitar and drums, with that progressive feel that seems to be the trio’s trademark, is not something new, but is certainly refined. Even ‘Missing 36’ which starts off with an industrial sound, much edgier and harder, still reverts back to a more ambient tone. “Capac” mix both into a kind of industrial ambiance which is difficult to ignore.

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Kidd excels when she experiments emotionally. “Disarm” suffers from a few Amy Studt moments, where teenage angst blurs with a poppy ether. Thankfully though, the overriding drive of “Disarm” is not quite so radio friendly. Sure “Slow Puncture” would not seem out of place in the folk-heavy charts, but the sincerity with which She Makes War delivers her punch lifts it above the saturated field.

Dog Is Dead “Young” Your Childhood Memories Dog Is Dead defy convention. They are a quintet who fuse choral harmonies with the best in indie rock. Their distinctive sound struck a chord with The Kaje on the festival circuit, with the rousing “Young” our distinct favourite!

The stand-out track has to be ‘Circle, Yes’ which does exactly what it says on the tin. It has that cyclical element to it, whilst also reminding the listener of strobe lit, smoke filled, venues. With previous versions of this track appearing on CSI (as in the TV programme), the perfectness of those circles is clearly defined. Even when the strings kick for the final time at it’s conclusion, the sense of purpose still remains and some listeners will be reminded of Tom Middleton in his “Cosmos” incarnation. In terms of the track we didn’t like, “Flies” is too progressive in view of what else is on the EP. However, the trio’s experimentation and endeavour can undoubtedly not be faulted. “Capac” are definitely a group to keep one massive eye on, and many more good things are to be expected of them. Constantinos Kypridemos


Fyfe Dangerfield “Fly Yellow Moon Polydor 5/5 The name may not be familiar, but if you cast your mind back to those commercial breaks we all pretend not to be watching, you may recall Fyfe’s cover of Billy Joel’s “She’s Always A Woman” which featured in the John Lewis TV Ad, and here is one of four bonus tracks on an already rich and plentiful album. If this doesn’t ring any bells, he is also the founding member of indie band “The Guillemots”, and a local lad (for me anyway!) to boot, born in our very own Moseley, Birmingham.

itself was recorded in just five days. Tracks like “Faster than the Setting Sun show hints of Fyfe’s indie roots with The Guillemots, whereas “So Brand New” has an almost Bowie sound to it. “Barricades” and “Firebird” have a mellower and more simplistic feel to them, where one can almost picture themselves drifting along the river in wooden boat with the sun gleaming down. “She Needs Me” is at complete odds with these softer sounding tracks, as our senses are assaulted with piano and brass. A far more uplifting track, Fyfe’s latest single release is for me by far the highlight of the album, even if it does seem a little out of place compared the more low key tracks.

Fyfe exercises his superb song writing talent on this album, penning all 10 tracks, aswell as having a hand in the musical arrangements. The end product is collection of what are essentially love songs, played out as nature intended them, unadorned and almost raw in places. It’s hard to believe that the album

Without a doubt “Fly Yellow Moon” is quite possibly one of the coolest albums of the year by a man with one of the coolest names I’ve ever heard! This is one man I cannot wait to see on perform live on tour . Kim Harrell

Locnville “Sun In My Pocket” Epic 2/5 Identical twins Andrew and Brian Chaplin took their native South African charts by storm when their debut album “Sun In My Pocket” was launched back in February. Now the twins are aiming at global domination. However, despite their boyband good looks and immaculate styling there is something that doesn’t quite work about the not very dynamic rapping duo.

about the looks than the music. Their monotone vocals are set against unimaginative beats and soon bore the life out of the listener.

Without meaning to sound cruel, Locnville are more Aaron Wright & The Aprils “Behold A Pale Horse” D-Set Records 5/5 Aged just fifteen, Aaron Wright ran away from home. His destination being London. No, he wasn’t seeking fame and fortune, but rather tickets to see Simon & Garfunkel live. He succeeded in getting tickets and thus fed his obsession for all things music. Thankfully for us, Aaron Wright is a music obsessive. According to his friends, he eats, sleeps and breathes music. He often gets so lost in music that a gig outing can last for days. But were it not for this obsession, I have little doubt that Wright would not be the musical genius that the oddly titled “Behold A Pale Horse” proves him to be. Serving as an introduction, “Behold A Pale Horse” contains five perfectly formed musical creations. Produced

Yet there must be something about the pair to have achieved the success in their home country. With live shows proving a riot, perhaps “Sun In My Pocket” just doesn’t full demonstrate the duos true potenital. Or perhaps this reviewer is just a little bit past his teeny-bop prime to really understand the appeal? Adam Green by Teenage Fanclub’s Francis MacDonald, Wright is joined by a who’s who of Scotland’s music industry as he takes his fledgling steps to success (members of Belle & Sebastian and Camera Obscura appear in The Aprils). Opening with the sing & swing along “Origami Me”, Wright’s warm rich vocal has an inviting tone despite some tetchy lyrical expressions. A strong introduction reaches its climax as the ivories are tenderly tinkled on the delicate “Takes One To Know One.” Wright’s reputation on the live circuit is fast growing. His warm eccentricity exudes throughout “Behold On A Pale Horse” and makes for an exciting precedent for his upcoming debut album. Jeremy Williams

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REVIEWS:LIVE MUSIC V Festival Weston Park, Staffordshire V Festival often described by many as the most commercial and profit orientated of the summers main musical events, was the brainchild of Jarvis Cocker of Pulp fame. He came up with the idea of playing two musical venues in two days, and so V Festival was born way back in 1996.

Welsh proved once again that she is one of the most accomplished live performers, and made it hard to believe that she is a mere 24 years of age. She dominated the 4 Music Stage, as she belted out all the hits from the critically acclaimed “Lungs”. Paloma Faith really gelled with the crowd as she joked that she was definitely not “Stone Cold Sober”. Her rendition of Etta James “At Last” was definitely another show stopper.

Back in those early days the venue only boasted two stages and a single dance tent, and the line up was pure Britpop at its best, with unsurprisingly Pulp and also Elastica the two headline acts.

Scouting for Girls added some lighter relief with their simple sing along pop tunes. The crowds were encouraged to join in a rousing rendition of “Posh Girls” who apparently “go like the clappers?” from latest album “Everyone wants to be on TV”. Their ability to elicit audience participation had even those towards the back of the field bopping along to their set.

The festival itself is spread across two sites, “northern V” at Weston Park in Staffordshire and its “southern sister” based Hylands Park in Chelmsford. Acts play one venue on the Saturday and then it’s all change on the Sunday when they perform at the second V site. Described as an “overly corporate affair” this does not detract from the whole V experience. Surely freebies can never be a bad thing and are something to keep you occupied in between the music? It may not have the “authenticity” of Glastonbury, but it has the money to buy in some of the worlds biggest performers alongside an eclectic mix of pop, dance and indie acts. Without a doubt this is the festival that has something for everyone. Previous years headliners have included the mighty Foo Fighters, Muse and The Killers. All bands that are renowned for their ability to put on a show stopping live set, and having witnessed all three, it is easy to see that “V” knows how to pick the acts that will have everyone talking. The only downside of the event is the £10 is costs to buy a copy of a programmed detailing the line-up times. Without this you’ll be left trying to guess when your favourite band is performing, and in danger of missing that must see act! This year’s line up boasted the band of the moment Kings of Leon, who pulled in the biggest crowd of the weekend. With many there to simply witness the phenomenon that is “Sex on Fire”, they moved faultlessly through a set that included all the hits from their latest album, as well as taking the true fans on a journey through their back catalogue including “Mollys Chambers” and “The Bucket” and also treating the audience to some snippets from new album “Come Around Sundown”, due out on October 19th. Both Florence and the Machine and Paloma Faith added some much needed glamour to the event. Florence

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The more “typical” festival bands kept the more serious music fans among us happy with The Editors, Stereophonics, The Kooks belting out all their hits alongside more relative newcomers The Temper Trap and White Lies. With the sun shining on Western Park for the second day of festivities, the whole event took on a more laid back atmosphere, the crowd spread much further out as everyone tried to grab their own spot in the sun for soaking up some rays while enjoying the day’s entertainment. Having previously experienced V in the rain, I was actually quite disappointed that my wellington boots weren’t put to good use. Jumping around in the mud to the Foo Fighters in 2007 still reigns as my most memorable V moment ever! It’s the typically British thing to moan about the weather, but I think a little bit of festival rain bonds everyone together, and of course there’s the added entertainment of all that mud wrestling going on all around you! V Festival remains for me the most accessible of all the festivals. The variety of acts offered have you spoilt for choice. Whether you stick to all your old favourites or mix it up a bit and watch someone you’d never normally dream of paying to see, I can guarantee you won’t be disappointed. Just one word of advice, if you’re going to do it then it has to be the whole weekend. One day just isn’t enough and only gives you a tiny snippet of the festival experience. You don’t even have to camp. Many V goers stay in hotels and then bus it in each day, so there’s no excuse to not grab the chance with both hands. Go on, you know you want to! Kim Harrell


Kendal Calling Lowther Deer Park, Cumbria On our drive along the M6 in our packed to the brim car, stacked full with camping essentials such as our tent, sleeping bags and of course beer, we were definitely getting into the festival mood as we descended upon Kendal Calling for the second time. However this time, it was bigger and better. The first time we were here, there were half the people, but to compensate for this the organisers have shifted the festival’s venue to Lowther Deer Park that seems to be a lot closer to Penrith than Kendal, however it still maintained the charm and outstanding setting that was offered the time before. As we settled into the campsite and put the tent up in relatively quick timing, we headed in to the fields where all the action was taking place. Walking past the unmistakable smell of the portaloos and then taking part in the of the now mandatory body search as you enter, its hard to get into the right mood and relax. However once you’re in, the bands and the atmosphere hits you and takes over. As we start to explore the new arena and move from tent to tent its clear that its been extremely well thought out. With each music tent only a maximum of six or seven minutes walk away and places to eat and rest everywhere, with good weather to boot, it was a great to start. As we started to familiarise ourselves with the layout, we soon discovered the Kaylied Tent (fondly known as the Croissant Neuf). In here there were a variety of bands, ranging from the laid back John Smith to the alternative folk sounds of The Righteous Bees. We knew instantly that this tent would be our new home for the next few days. As the evening drew, the main stage started to fill up with people eager to see the headliner for the Friday night, Calvin Harris. The crowd soon became restless and rowdy, with security having to interject to help stop anything escalating. But as soon as something started to happen, Calvin Harris appeared on stage, and suddenly everyone remembered why we were there, for the music of course! His set journeyed through his familiar sound fonts and hits, before a power failure causing the Scottish DJ to suspend his set. This was soon rectified and we continued to rave in a field. The morning after the night before soon came around and it was Saturday, with bands such as The Doves, OKGO! and the 1,2,3,4’s to look forward to. Once we had awoken and fought the crowd for a £5 cheese toastie and polystyrene cup of tea, we were raring to go...and today was fancy dress day. As we made our

way back to the tent to get changed, we pass a guy in a pink PVC thong and cowboy hat and several naked versions of superheroes, so knew that our Ghost buster foursome would go down well, and it did! The idea for fancy dress was amazing and we were glad we took part. Everyone was there for all the right reasons, with everyone commenting on everyone else’s costumes and taking photos. Chasing some ghosts around the site ourselves created a fantastic feel of community and respect, one that is very hard to create in a festival. After we had changed and returned to our normal selves, we re-entered the fields and noticed some commotion coming from the solar powered Kaylied tent. Upon closer inspection we soon realise it’s the band Tankus and The Henge causing it. These were without a doubt the best band of the entire festival. With their cheery up beat folk / pop music perfect for a good knees up. They effortlessly had the entire tent up on its feet dancing and begging for more. It’s quite unusual for a relatively unknown band to have such an effect upon festival goers, but their charm, good music and stage presence took command over the audience, which ended with a conga and the loudest applause I have ever heard at a festival. Thanks to the Henge crew, we were well in the mood for some more, not before re-fuelling. Soon enough it was time for The Doves. Their set was incredible, starting off with their well known tracks, they really took the audience on a journey, notably “Catch The Sun” and “Cedar Room”. The incredible light show to enhance to the band’s awesome form. It really was a fantastic end to an amazing day, and its a very similar story for Sunday too. As we took advantage of the relaxed nature of the Kaylied tent in the morning to warm us up musically if you will, it really got us going for some of the acts that took the main stage such as the particularly memorable Kid British and The King Blues, both of whom really connected with the crowd to help them forget the drab weather that surrounded them. A hard feat for any artist to achieve. As far as festivals go, I think many other festivals should take note at how one should be ran from the crew of Kendal Calling. There were no issues, the bands were so varied that there really was something for everyone. As far as festivals go, smaller is most definitely better. It makes the experience for the festival goers themselves so much more enjoyable. I have to say that this summer, Kendal Calling really was the most fun you would’ve had in a field. Lee Hall

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Summer Sundae Victoria Park, Leicester Festivals these days are almost ten to the dozen. They seem to be popping up everywhere to cater for every taste. However, one that seems to be going from strength to strength is Leicester’s Summer Sundae, which started as a small one day, two stage festival back in 2001 when Morcheeba were headliners. This year promised to be an exciting if mixed bag affair, boasting four stages over three nights. Headliners proving equally diverse, with Seasisk Steve, Tinchy Stryder and Mumford & Sons from Friday through to Sunday respectively. In many respects, the atmosphere of Summer Sundae felt more like a ‘Party in the Park’ than a full-on festival. The reasons for this are simple to explain. As opposed to many of the non-urban festivals, the space at Summer Sundae is limited. The three outdoor stages are less than a two minute walk from each other, whilst the indoor stage literally neighbours the main stage. On top of this, many of the acts could be deemed ‘family friendly’, alongside the likes of festival regulars The Futureheads and Seasick Steve were the more teeny-bopper friendly Eliza Doolittle, Diana Vickers and of course Tinchy Stryder. In fact, on the Saturday I couldn’t help but notice many bored youngsters baffled by the musical feast exclaiming that they’d only come to see Diana or Tinchy. However, in calling Summer Sundae a ‘Party in the Park’, I insist I am not deriding its true value. Summer Sundae is essential for the Midlands music scene, with a real drive towards promoting local acts. With Nottingham’s Dog Is Dead and Leicester’s Ashdowne proving sensations that easily attracted as many screams as the more established acts.

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vals ensure that similar acts are not competing against one another, at Summer Sundae they often clashed. Time slots too were aligned so closely that it was nigh on impossible to catch both sets should the clash occur. Perhaps a closer look at the target audiences of the performers next year would help rectify any further issues of the ilk. Festivals, in my eyes, are not about the headliners but rather the up and comings proving themselves and even winning over new audiences. Friday saw appearances by both Eliza Doolittle and Lissie. To say the Rising Stage was packed to brim is far beyond an understatement. Both girls attracted more of an audience than the majority of those who graced the mainstage. With lively, colourful performances, both girls proved their worth and demonstrated exactly why hype is not always necessary. In stark contrast came Diana Vickers. The steady rise to success both Doolittle and Lissie have undertaken could not be further from the instant fame of the X Factor loser. With a half empty crowd, Vickers was allegedly one of the festival’s biggest names and draws. Bouncing around on stage in a baggy white slip, Vickers lost her audience’s attention quickly and failed to impress. Of the headliners, Seasick Steve was without doubt the most enthralling. Playing in the pouring rain, Steve saw his audience double despite adverse careers. A simple stageman, the honesty in Steve’s deliverance saw the audience spellbound. In true British style, the rain poured but even with only a few brollies between the jam-packed crowd no-one complained.

The city centre location could have easily proved the downfall. Whereas other festivals ensure you are nicely caged in to enjoy the treats they have planned, Summer Sundae is easy to escape. Yet a remedy was put in action. Alongside the music, there were film screening and comedy to enjoy. But the constant flow in and out of the main entrance demonstrated that perhaps these were not pull enough.

Of all the stages, the famous DeMontfort Hall provided the Indoor Stage, which was without doubt the place to be. Given that rain poured down without hesitation, many sought refuge as well as clean toilets. The result being than many who would have gone unnoticed stole the show. Despite stunning shows from The Besnard Lakes, Catherine A.D. and Liam Frost, my personal highlights came from the Uprising Stage - requiring wellies and a brolly for the short trek across. Joining the aforementioned Eliza Doolittle and Lissie as my top festival three was without doubt the understated, simple yet sophisticated set from singer/ songwriter Matthew P. Taking to the stage with just his guitar, Matthew P soon had the crowds pouring through the door for his relaxed morning wake up.

Before I give you the positives, I shall give my biggest criticism of all. The planning behind Summer Sundae lacked the ingenuity of many others. Whilst other festi-

Summer Sundae may not have struck the perfect balance, but a good weekend was still the main order of the Jeremy Williams day.

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MTV Present...One Night Only Dingwalls, London 3.5/5 With former Razorlight drummer Andy Burrows in tow to provide support (with his brilliant new group I Am Arrows), George Craig and chums shone as they took to stage at the intimate Dingwalls. The Yorkshire quintet have garnered a lot of attention for their eponymous second album, which follows the surprise Top 10 album “Started A Fire”. However, it has not been their musical accolades that have seen these boys in the press. A rumoured romance with fellow Burberry model Emma Watson has seen lead singer George Craig in the tabloids. But as they say, any press is good press and it appears that Craig is now very much the pin-up. A gaggle of teenage girls awaits his arrival with much anticipation. As soon as Craig and comrades hit the stage the screams start. A man of few words, Craig concentrates on the music. One Night Only may not be the most original group ever, but what they lack in ingenuity they more than make up for in energy. Revisiting past hits and debuting tracks from their curWildbird & Peacedrums The Lexington, London 5/5 Sweden’s husband and wife duo Wildbird & Peacedrums are making a flying visit to the UK. Their third studio album “Rivers” needs launching before the pair can head over to Japan to continue a promotional tour. London’s fashionable The Lexington has been chosen as the venue and suits the pair perfectly. Taking to the small stage, the pair play to a packed audience and prove their names worth. Whilst Mariam Wallentin goes crazy releasing everyone emotion humanly possible, husband Andreas Werliin proves a calming constant drumming presence. The echoes of early Bjork in Mariam are no doubt an obvious comparison. Both are Scandinavian and have reputations for being feisty unafraid performers. But Bjork is not a bad person to be compared with. As a performer Mariam givers her all. Every song pours from her heart and fills the room effortlessly. When a technical hitch causes the pair to stop mid sad song, Mariam provides comic relief before returning convincingly to the melancholic tone without hesitation.

rent release, Craig seemed unable to put a foot wrong. A strong connection with fellow guitarist Mark Hayton proved to be the defining bond of the night. Constant interaction with his chum gave insight to the group dynamics and seemed to ease the pressure for the slightly nervous Craig. Sound issues were inevitable. The quick turnaround between I Am Arrows and One Night Only had not allowed for a full soundcheck, leaving drummer James Craig in an awkward situation. However, the boys dealt with the situation subtly and efficiently, though never apologising to their screaming fans. Newer material lacked the pep of their earlier sound. Lead single “Say You Don’t Want It” prompted some of the more devout fans to sing along, but it was the old timers that really got the roars. “Started A Fire” and “Just For Tonight” proving the night’s real winners. Dingwalls was a perfect location for an intimate night with a group who show potential but have not quite fulfilled it to date. Jeremy Wiliiams To say the crowd were captivated is an understatement. Mariam is a compelling presence, who relies heavily on her husband for support. A true love was never more evident between a stage pairing. Though the duo uttered not a word to each other through their set, the constant sideways glances and secret smiles proved that one is not balanced without the other. A musical relationship is all about finding an equilibrium. Many partnerships seems false and imposed. Often a real life relationship translates badly in terms of stage dynamism, yet somehow Wildbird & Peacedrums escape the issue. The sometimes frenetic set flew by in fluster. Without noticing the time, Wildbird & Peacedrums entertained wholeheartedly. With only occasional spoken interjections, their material did not need explanation. Rarely does a band wear their heart so firmly on their sleeve, but such devout honesty is the key to Wildbird and Peacedrums success. Two people and a set of drums never sounded so good. Jeremy Wiliiams

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REVIEWS:THEATRE Sound of Music (Bennett) Hippodrome, Birmingham 5/5 As an avid fan of the “Sound of Music, (I’ve worryingly even been a Sing along showing of film), it was with eager anticipation that I took my set to finally watch the musical version of this timeless classic. The UK tour of the show revived by Sir Andrew Lloyd Webber for his BBC talent show “How Do You Solve A Problem Like Maria”, stars winner, as decided by the British public Connie Fisher. The leading nun come governess faultlessly acted the part, and at times I couldn’t distinguish Connie from Julie Andrews. Fans of the film should not expect a carbon copy of the movie. Many scenes are missing or have been amended slightly in order to fit the story into the 2 hour and 35 minute time slot. And although all the famous songs are in the show, many of them are featured at different times. Maria and Mother Abyss sing “My Favourite Things” together, and the “Lonely Goatherd” is featured when the children are scared by thunder, instead of when they put on a play. Other moments such Joseph and the Amazing Technicolor Dreamcoat (Lloyd Webber) Hippodrome, Birmingham 5/5 I was extremely excited to be reviewing Joseph having heard so much about it over the years; however I was truly not expecting the extravaganza that it was! A truly good mix of fun and knowledge for adults and children alike and one for the Family, a good time feeling was had all-round. The costumes were a little questionable in places with spandex and holographic fabric which I would imagine from a distance would look effective but from the stalls they were a little too much! The set was incredible, fun, colourful, dynamic and interesting but the best of all of course, was the actors! The fun they expelled came deep from within in their souls! They played hit every note, danced every step and played their hearts out! The narrator particularly engaged with the audience

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as the Captains first rendition of Edelweiss are merely mentioned. These small differences aside, it is a sensitive and joyful adaptation of one of the best loved musicals of all time. The numerous scenery changes were seamless, and the various backdrops of the Captains sumptuous house, and the Austrian Alps a treat for the eyes. A special mention must also go to the Mother Abyss played by Marilyn Hill-Smith, whose powerful and touching rendition of “Climb Ev’ry Mountain” brought a tear to the eye. But the real stars of the evening were the superb child actors who played the seven Von Trapp offspring. With their faultless harmonies and comic timing, they put their adult counterparts to shame. The “Sound of Music” is proper good old fashioned fun, and definitely an entertaining night out for the whole family, both novices and fans alike! Kim Harrell making eye contact with several people in the theatre and really feeling every line she sung. Keith Jack, the runner up from the hit BBC1 show Any Dream Will Do, gave an excellent lead performance with passion, skill and a real zest for the show. The Eleven Brothers felt every moment of their performance, also excellent performances were given by the dancers, children in the choir, Elvis, Jacob and all other parts. The lighting particularly stood out as it illuminated Joseph’s coat that was held up by his Brothers giving the show that extra showbiz factor. It was slightly disappointing that they played however to a half full theatre, however this did not detract from the atmosphere. The staff were friendly and helpful and the show seemed accessible for all. A definite 5/5 and a must see show, I left dancing! Eleni Kypridemos


Corrie! (Harvey) Lowry, Manchester 4/5 For 50 years the nation has been hooked on one one soaps. They’ve been through some hilarious and often gruesome story-lines. For six of these years Jonathan Harvey has been responsible for some of the most memorable story-lines to date, and is also the man behind the new stage production “Corrie!” The play features many of your favourite characters from the past through to the present, including the iconic ladies of Weatherfield, Gail Platt, Rita Sullivan, Raquel, Bet Gilroy and Elsie Tanner. Harvey’s passion for the show and respect is clear and a particular love for certain characters is shown, whether that be for personal reasons or comedic writing purposes is hard to tell. But the very few moments during “Corrie!” that don’t quite work are easily forgiven as the rest of the show is hilariously written. However, like any other production, a script can be great but without the right cast, the show will be dud. Thankfully, “Corrie!” has managed to find a cracking cast. Their ability to maintain composure without flinching an eyelid when the audience are in riots of laughter is impressive. Their impressions of some of the characters would trick you into believing that the real cast were up there, in particular the spot on version of Deidre Barlow (glasses, neck and open eyes included at no extra cost) and the frightfully convincing Ken Barlow. Other impressive impersonations included Corrie legend Hilda Ogden, a dragged up Bet Lynch and somewhat convincing Jack and Vera Duckworth. The cast have really been pushed and have created some great personas. Yet, in what is essentially, dare I say, a sketch show, the vignettes are often too short and much poignancy is lost despite the impressive set and stunning performances. However this can hardly be construed as a criticism as fitting fifty years of story lines into just over two hours is a job I would not like to do! Maybe a bit more attention to the slightly sadder story lines would’ve brought some warmth to the show. Hilda’s loss of Stan feels rushed. In a strong attempt to touch, it leaves the scene feeling a bit stale and lifeless. Thankfully though, Harvey has on the whole chosen

scenes wisely. One truly inspired moment features the iconic Elsie Tanner stood in silhouette under a lit lamppost with cigarette in hand, reminding you why love Coronation Street in the first place. In Harvey’s hands, Tanner almost becomes a classic film actress and as a result, the late Pat Phoenix gets the respect she deserves from Josie Walker’s dazzling tribute. Throughout the show there is constant play with the audience’s knowledge of the show. Personally I felt the knowing winks and nods to the fans, such as references to Tracey Barlow’s childhood (“She’s upstairs playing her tapes”) were hilarious and caused mayhem in the stalls. When of course, we all know she was up there for years and emerged as an evil temptress, where we see Leanne Best have a grand old time playing her descent into darkness. Simon Chadwick plays her dad Ken and with ease switches to Roy Cropper just as effectively. Matthew Wait’s Steve McDonald is ingenious as his wide-eyed stare makes you nod in recognition of Street Cars’ famous owner. The only mute point is the use of a narrator. It works and it doesn’t. As a theatrical device, he certainly does his job of linking the scenes (especially as there’s no particular storyline any way!) but Charles Lawson (Jim McDonald in the show) seems under-rehearsed and shouts the lines out to grab the audience’s attention, often bringing the scenes to an abrupt end. Perhaps this “authority” was needed as there are moments where specialised crowd control would have had issues bringing the audience back from there state of laughter, however maybe these links would have been more effective as a recording, or simply providing less material for Lawson to read inbetween sections. There’s not doubt that you have to be a fan of the street to be able to appreciate it, however, I myself am not an avid follower and have only followed around thirteen years of the show. Yet I still found the entire show enthralling and somewhat enchanting. From Alan Bradley’s death by tram (in slow motion might I add) to Hilda Ogden’s wall painting, both gaining a roaring round of applause, “Corrie!” really is a well deserved, amazing tribute to the wonderful programme with a fantastic script and actors to match it. Christopher Hall

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REVIEWS:DVD Kick-Ass (15) Universal Pictures UK 4.5/5 Based on the comic book by Mark Millar and John Romita Jr, “Kick-Ass” is a film about student Dave Lisewski and his transformation into the superhero “Kick-Ass”. Unfortunately the only real superhero ability that Dave has, is a serious propensity to attract beatings and also the drive to continue on with his superhero ways in spite of said beatings. That sounds like poor basis for a story line, unless you enjoy watching beatings obviously, but with other superhero characters, like NIcholas Cage’s “Big Daddy” and his daughter “Hit Girl” played by Chloe Moretz and the gloriously named “Red Mist” (a.k.a McLovin’s Chris Mintz-Plasse), the plots and sub-plots develop hand in hand with the blood shed. Watching “Hit Girl” go head to head with groups of men, bearing in mind she is about eleven years old and loves her knives, is what this film is all about. It also makes quality viewing! Director Matthew Vaughan, of “Layer Cake” fame, uses all those tricks and skills that we all have seen in his previous offerings to great, and to unashamed excess, which only further adds to the viewer’s pleasure.

the-top acting by Cage is reminiscent of Adam West back in the good old days of Batman. There was a lot of hype from the media when this film was released in cinemas originally, mainly about the fact that it is a British-made, British-written film. That is of course one reason to buy this DVD. The better reason is that this film should have a cult following on par with the “Jay & Silent Bob” series of films etc. Maybe that’s too indulgent, but the theme, the storyline (however cheesy it may be, and the characters that are developed are a cracking watch. Jane Goldman’s script writing may in some places be obvious, and probably not genre defining, but I don’t think that is what the film is about. She has followed on from “Stardust” showing her development as a screen writer who shows potential to be a top notch screenwriter. Back to the film, the audience will live and breathe every punch, every kick and every beating with poor old “Kick-Ass” and the euphoria that his presence creates on the streets of New York is something that the viewer takes heart at and gets those clammy hands of expectation. Constantinos Kypridemos

Nicholas Cage’s inclusion as “Big Daddy” is inspired, though probably not his best film, it is certainly his most entertaining - being up there with “Con Air”. The overRobin Hood (tbc) Universal Pictures UK 4/5 So it’s not what you expect. There’s no outlaw, but there is a woman, a band of merry man, and a very charismatic Russell Crowe filling the screen. The accent is crap but that can be forgiven.

tion is right. The decision to cast Cate Blanchett as Maid Marian and Eileen Atkins as the mother of the Kings, means that although men out number women in this film at least they can hold their own. But essential this film is a big budget Hollywood action film, with a little bit of history, and you either like big budget Hollywood or you don’t… I do.

Ridley Scott has made a prequel. The delights and splendours of one, if not two or even more, sequels are pre ordained by this film. It’s fascinating because it is based on the history of the 12th Century. From the reign of King Richard leading into the reign of King John (stunningly performed by Oscar Isaac). He is the epitome of the creepy but beautiful aristocracy who care about power to the exclusion of all else.Scott could easily create a 12th Century historical series through the eyes of Robin Hood leading up to the signing of the Magna Carta… Lets see if my predic-

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Many people will deride the efforts of both Scott and Crowe, stating that Robin Hood is not a patch on many of the other films about the great legend. However, every legend is open to interpretation.

face.

I loved this film. From the opening credits to the closing credits I had a smile on my Rachel Jacobs


REVIEWS:BOOKS

Pictures Of Lily (Constable & Robinson Ltd.) Matthew Yorke 4/5 “Pictures of Lily”, no not The Who song, by John Llewllyn Rhys Prize-winner Matthew Yorke, is the much anticipated second helping to experience Yorke’s gift of completely enthralling the reader. Focusing on the themes of adoption, the effects that has on the individual and the need to belong, Yorke explores a difficult and meaningful subject.

and then disappear again. But that is how real life is, how many of us meet individuals who just disappear shortly afterwards. This supposed world of fluidity and the continuous pursuit of an individual’s personal ambitions, has meant that Yorke’s characters mirror ourselves in same ways.

Seventeen year-old Lily Myers is the focal point, it is through her experiences and thoughts that the reader begins to understand in their own way what is happening to Lily. Weaving adoption through the Northern dub-step scene and writing about drug-taking is certainly not the easiest of challenges. But it is the slightly choppy cast of characters that make the novel so real, and provide a platform for the author to succeed on.

In some ways this novel strikes to closely to reality, and may cause some readers to flinch with that thought, but Yorke strikes at the heart of his subject with intriguing and even intrepid writing. For a man that is a engineer, we are told, he certainly can write and is not afraid to tackle themes that many ‘experienced’ writers may have reservations about.

As in real life people come and go, changes in circumstances, changes in outlook and just sheer opportunism mean that some characters only surface for a short period of time. Help develop the story in their own way, The Big Book Of Gaydar (Uncut!) (Book Guild) JockBoy26 3/5 The target audience for this brief insight into the world of online dating is clear. JockBoy26, whoever he may be, is not trying to target a straight reader. He is celebrating a gay phenomenon that many outside the scene would not understand. With its instant access to literally thousands of gay/bi men, with an equal amount of indecent pictures, Gaydar has become essential to everyone who defines themselves as non heteronormal. The colourful cover lacks appeal but as they say, you should not judge a book by its cover even if it gives insight to the contents. On first flick through, “The Big Book Of Gaydar IUncut!) is intended to be a quick, fun and informal real. JockBoy26 concedes that he is a journalist and Gaydar addict, this book is pure celebration of a medium through which he has apparently met 38 friend, 2 husbands, numerous boyfriends and even a stalker!

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The reader may not be into dub-step, let’s be honest not everyone is(!), but through Lily’s experiences and Yorke’s insightful and progressive craftmanship, the novel engages and holds the reader until the end.

“Pictures of Lily” is a novel that should be experienced and not just read. Constantinos Kypridemos

So, what worth does his homage truly have? I have to concede that despite my preconceptions, “The Big Book Of Gaydar (Uncut!) `is cheerful enough read Despite its apparent limited appeal, JockBoy26 manages to make his observations humorous enough that his writing is not limited in appeal to only the Gaydar addict. In fact, I found my straight housemate giggling to a couple of pages when I left it accidentally in the lounge! “The Big Book Of Gaydar (Uncut!)” proves itself to be a clever combination of funny statistics and valuable advice. A sort of untraditional how to.., JockBoy26 has invaluable advice to anyone trying to setup a profile - the essential dos and most importantly don’ts. The precious advice could apply to any online dating site making “The Big Book Of Gaydar (Uncut!) relevant across the board in a world where internet dating is fast becoming the norm. I am surprised to find myself saying this, but “The Big Book Of Gaydar (Uncut!)” is in fact a thoroughly enjoyable read! Adam Finch

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The Album - OUT NOW! http://www.myspace.com/blamejack

“softly-strung melancholia with delicate harmoni and romantic-tinged meanderings” - Maverick “Blame Jack’s brand of summer-song folk brightens even the darkt day.” - Zap! Bang!

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Would you like to make a change in your life? Would you like to achieve more than you are now? Is there something missing in your life but you’re not quite sure what? Would you like to earn a living doing what you love?

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The Kaje (September Issue)  

The Kaje is all about the arts - from the upcoming and underground through to the commercial mainstream. Issue 5 takes a look at: Stornoway,...

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