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THE GREATEST RIFF I’VE EVER KNOWN by andrew mcclain

Someone on Tumblr asked me for my top five guitar riffs. I came up with twenty. These are mostly like, harmonic-type, licks/hooks, and so I feel like they exist in a different category than, say, the chord-based riffs of “Not Fade Away” or “Whole Lotta Love,” “Gloria,” or Spoon’s “Trouble Comes Running,” which would certainly top a certain type of list. But these are my twenty. Every one of these songs makes me wish I could play guitar. Their order is approximate. “See No Evil” by Television // It’s not funk. It’s not blues. It’s not really even punk rock. It sounds like a foreign scale that Dave Longstreth would play. But it really is punk rock. Television had all the twitchy tics of Talking Heads, but an infinitely harder punk rock edge. “Rebel Rebel” by David Bowie // I was pretty sure this was a Mick Ronson riff, but I did my Wiki research and found out that it was actually his first hit song in five years without Ronson, who was a master at these sorts of riffs. Very simple, very catchy. “Ball and Biscuit” by The White Stripes // An uncomplicated blues riff that never tires during the song’s seven-minute runtime. It now has a tiny legacy as the first sound heard in “The Social Network.” “I Don’t Want To Go To Chelsea” by Elvis Costello and the Attractions // This is one of those jangly, messy riffs that actually sounds like a snippet from a frantic solo before you hear it repeated throughout the song. “Apply Some Pressure” by Maximo Park // Hardly a legendary act like Costello, mid-00’s Britrock act Maximo Park was a big favorite of mine for a long time. I love this riff – two parts part picking, two parts crunchy guitar stab, punctuated by showy drumming, which actually becomes part of the riff. Funny enough, it still works as a horn riff in Mark Ronson’s excellent remix of it. “20th Century Boy” by T.Rex (see also: The Replacements’ cover) // This is one of those that actually gives me a weird butterflies feeling in my stomach and makes me want to dance in really embarrassing ways. That kind of speaks for itself. “Bastards of Young” by The Replacements // You can keep your 00’s emo rock – this riff has more rebellious, angsty bitterness in it than you could ask for. “Rocks Off” by The Rolling Stones // A quintessential blues-rock riff punctuated by a single snare drum opens the Stones’ 1972 “Exile On Main St.” which is probably the greatest Southern rock album ever recorded in the south of France. “I’m The Man Who Loves You” by Wilco // This nasty, frenetic thing is basically perfect. A perfect example of how Wilco has this amazing knack to do something so unruly while keeping it tight like only they can. “Weekend” by Smith Westerns // A recent release that I’ve heard lauded endlessly by several classic rock guitar-heads who can’t believe it’s not a George Harrison riff (oops – this list has no George Harrison. I’m sorry). “Have Love, Will Travel” by The Sonics (see also: Black Keys cover) // The Sonics’ version is clean and bouncy. The Black Keys’ version on “The Moan” is mawkish. The Black Keys’ version “Thickfreakness”

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is nasty and damn near aphrodisiac. Take your pick. “Under Cover of Darkness” and “Reptilia” by The Strokes (can’t choose) // The first choice is a little new, and from a poorly-loved Strokes album, but it’s so catchy and so complex – its layers of overdubbed harmonics never stop unfolding. “Reptilia” is lean and springy, and has a hell of a complimentary bass riff to back it up. “Party and Bullshit (Ratatat Remix) by The Notorious B.I.G. // I’m not sure if this is an original Ratatat track that they used for their remix album, but it has always made me wish I could play guitar, so that I could play it (Preferably on a solid ivory white Stratocaster). “Endless Talk” by Wild Flag // A 2011 release that I consider an instant classic from those ex-SleaterKinney folks. It pays homage to Television and Patti Smith and has a mean organ riff to boot. “Precious Precious” by Jackie Moore (as used by Kanye West in “Breathe In Breathe Out”) So yeah, I’m basically talking about “Breathe In Breathe Out” here, but it’s good to give credit to the sample. It’s so bluesy and elastic. It sounds like it’s being played on a really gorgeous red Gretsch hollow-body, but that’s just my imagination speculating. Most of the songs on “Fear Of Music” by Talking Heads, esp. “I Zimbra” and “Paper,” but they’re all candidates. “Hoist That Rag” by Tom Waits // A great Marc Ribot riff (this man seriously deserves some credit as one of the greatest session guitarist – I don’t know if he gets it, but he needs more) on a really grungy song about pirates, I think. “I’m Not Ready” by Surfer Blood (came out like 2 months ago whatever) // This is another one that I think could be effectively played on another instrument because it’s just a beautiful melody. But I’m glad it’s on guitar, because it makes the song rock, but in a really nuanced, beautiful way. “Cruel” by St. Vincent // Another 2011 release, whatever – I mean, have you heard it? This lady can do incredible things with a guitar – throughout a lot of this album (on this song, and on “Dillettante”) she turns that guitar into a whole horn section, then wails on it nervously. It’s amazing. “Rich Wife” by The Long Winters // A really great riff from a band that’s not necessarily known for their riffs over their general songwriting. But it’s a hell of a riff. Honorable mentions to Sleigh Bells for creating an album composed of solidly mediocre riffs that sort of collectively add up to like 3 really brilliant riffs; to Johnny Marr, who writes some of the best damn guitar riffs ever, but is not represented on this list because the bands he works with are not represented on my computer, nor in my common listening habits; to Spoon, possibly my favorite band of all time, who is not represented on this list because they don’t really write sick riffage for guitar, as I found out - mostly good bass riffs and solid guitar hooks.

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this issue is brought to you by kanye west’s visit to shoreditch.

Single of the

Week

Having Sarah on the cover really lead me to revisit her debut album, Vertical Lines. Listening to it always reminds me of all those nights at basement shows singing along to ”Long Road.” 4


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Diary Entry from a Music Entrepreneur by tori cote

I guess I have always known this but... I’m entering an industry that has a lot of men in it. This isn’t a problem for me, but it’s definitely noticeable when you enter a venue early, and you’re the only girl there who isn’t a girlfriend of some dude in one of the bands or you’re not one of the scantily dressed bartenders. I’ve always been comfortable with a group of guys and definitely can hold my own, but as I get older and start to actually get more involved, I have never been more aware of my gender. Depending on what I’m doing or where I am, I find that sometimes men in the music industry don’t take women as seriously. That’s not to say that all men in the music industry are pigs, because that is not true at all and I have met many great honest men in the industry, but I have also encountered dumb asses who think that they know everything and have the right to push women around simply because they think that they can. I know this because I see it often enough. For every strong female classmate I have trying to enter the industry, there is another female who bats her eyelashes and lets these boys walk all over her. It’s so strange. Everyone is equal, considering we’re all just trying to get a start, so I don’t see why anyone could think that they could walk all over anyone at all. Period. I suppose that the girls who let people walk over them won’t get a job in this industry anyways considering you have to have some sort of spine. I’m making generalizations based on what I see. I haven’t been exposed to too many major companies within the music industry, simply because I’m in college and don’t have the credentials or knowledge I should have before trying to make a name for myself. I’m sure that as I get older the rules will change and aspects of my work environment will be 6


different. To be honest, this isn’t a case where men in the industry make women act a certain way. Women have the ability to make something of themselves, and it depends on who they are as people, and who they want to be represented as. The first step in being wanted to be taken seriously is to take yourself seriously. If you want to be depicted in a certain light, than act the part. No one’s stoping you. There isn’t some big ass hammer descending from the sky ready to knock you out when you do something unexpected. The music industry isn’t the only place where a glass ceiling exists. Everyone is entitled to their own opinion, but mine is that one does exists. Hopefully by the time my generation is working the glass ceiling will diminish. I’m not a person who thinks about women’s rights all the often, but obviously as people get older they start to open their eyes to what is happening around them. I see strong women and weak women, but more importantly than anything, I see afraid women. I guess what my point is that there isn’t any reason to be afraid. Hey, you might not be Beyonce but there is no reason why you can’t have her work ethic and strong mentality. You too boys, channel your own Beyonce.

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sarah aument an interview by the miscreant

Sarah Aument has been stealing the hearts of everyone in the Syracuse music scene since her first year at SU. Now, with graduation on the horizon, a lot of changes are headed her and her band’s ways. Here, Sarah talks about her mom’s CD collection, The Voice, and her upcoming releases. TM: So, Sarah, how does it feel to be on your last leg of college? SA: It feels great. A little bittersweet because I really love my life here but I’m pretty stoked to be moving on. I’m in need of a change. TM: What would you say have been your best memories of being a musician at SU? SA: Basement shows for sure. Everyone is all crowded into a dirty basement shoving their way up to the front to support friends’ bands. It’s an awesome scene. One time my friend threw her bra at us while we were playing, and it got caught on my guitar and Nick’s bass. It was awesome; we were lassoed by the bra. TM: Talk a bit about your bandmates! Who are these handsome, young men you work with? SA: Oh man, my boys. Well, they are great to work with but you know, their stunning good looks and youth are a little distracting. It’s hard to get stuff done. My bandmates are awesome. I don’t mean to build them up because we work together, but I really mean it when I say that I’m lucky to work with them. I’ve been working with Kevin and Brian for almost three years now and Nick joined in a little after them. That seems like a ridiculously long time. I don’t know man. When we get together we laugh a lot. TM: How has a string section to your band changed the dynamic of your 8


live performance? SA: The string section thing that we’ve been doing lately sort of came from an idea to make our live show this ever-changing, exciting being that got our fans excited to see what we would do next (well, and I guess us too). Also, props to Brian, dude! I mean he arranged such a killer part. I was really proud of him, and proud to be playing alongside some of my good friends who just so happen to be classically trained string players. TM: Your style has gone through some major evolution over the past couple of years. How would you categorize those changes? SA: You’re right, it really has. It changed because I just found more toys, and I stopped limiting myself to what was easiest for me to play. No, actually, I think it was more because I changed. I think I know more about myself and what I want to do right now. It’ll probably shift again with time. Either way, I started putting my work out as soon as I started, so the music was simple because I was simple. Now that I know more I can create more of exactly what I’m hearing in my head. It’s amazing how much has stayed the same though. TM: Who have been the biggest influences on your music as a whole? SA: Well, I’d have to go with the artists I’ve listened to the most, which would be probably Radiohead, Feist, and Wilco. But you know, everything influences me: the classical music my dad gave me as a kid, my brother’s Alt Rock collection of the 90’s, my mom’s collection of Carole King records, and so on and so forth. I am hugely influenced by other stuff, too, not just music. I was always sneaking in television that I shouldn’t have been watching, and going through “eureka moments” after the latest book I’d read. To be honest, I am quite impressionable and like a lot of stuff. TM: What you’ve been listening to lately, specifically when writing the new material? SA: Hm, well, I guess I’ve been all over the place; sort of same as usual. I fell in love with Idith Piaf sometime in the fall, and have been listening to St. Vincent quite a bit. Honorable mentions include 9


Joanna Newsom, Mum, and Everything Everything. I also watch the Jools Holland Youtube channel obsessively, which I like think keeps me up to date. But I think I’ve been listening to film scores and soundtracks more than anything else. Holy bananas do I love movies. TM: Can we look forward to a new release form you sometime soon? EP, single or full-length? SA: the two out

Yessir! We are putting together what we hope will be an EP out in spring under our new name, which we will be releasing along with new live videos we shot back in December. The first video will be Feb. 27th, and the second will be soon after.

TM: Talk a little about your performance on Orange Television Network’s Loud And Clear. SA: Oh, that was fun. Those kids are so professional, makes me proud of our students here at SU. You know, we got a good bunch of hardworking people. It’s inspiring. TM: Also, I understand you recently recorded some material with SubCat. What can we expect to see in the new video? SA: Oh man, you already know about this. Yeah so excited to release the videos. The first will be out Feb. 27th. TM: Where were you guys playing over the Winter Break? What were those shows like? SA: We went down to my hometown in Kennett Square, PA, played a few times there and then once in Philly. That was great. I love seeing my mom in the audience. All my family for that matter. The Philly show was awesome. It was in this house basement that the Temple kids go to for shows. TM: Do you guys have plans in the near future for touring? SA: Yes! Shows in Syracuse, Colgate, and Philly in March. And then, hopefully everywhere in the summer.

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TM: What have your recent performances in Syracuse been like? SA: We haven’t played in Syracuse since earlier in the fall! Those performances were fun. We got to open for Best Coast and then have a party for the WERW launch. They’ve all been a blast. There’s not much more I can say about that. TM: I understand your music has been featured on some national television! When, where, how, etc? SA: We work with a music licensing company called Jingle Punks (love those guys) and they have placed our stuff all over. My friend overheard one of our songs on the season premiere of The Voice. It’s so great. The contestant loses and our sad song plays as they walk out all defeated. Haha, so great. TM: What else lies in the future of you and your band? SA: Who knows? Hopefully just touring more and making more content that we love.

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Who’s Going Home With Oscar? by sir lance st. laurent

Can you smell it in the air, folks? The smell of overblown pageantry and broken dreams. That’s right, it’s Oscar season yet again. So, as the The Miscreant’s resident Oscarologist, it is my job to act as an unfunny Carnac (google it, kids), trying to read the inside of envelopes with nothing more than my keen powers of perception. As I do every year, I will attempt to read the minds of the biggest group of octogenarian voters this side of the Florida primary and guess the winners of the major categories at this year’s Academy Awards. And what would an Oscar article be if I didn’t add my own personal picks for the awards? Let’s get started, shall we? Best Adapted Screenplay Alexander Payne, Nat Faxton, Jim Rash, The Descendants; John Logan, Hugo; George Clooney, Grant Heslov, Beau Willimon, The Ides of March; Aaron Sorkin, Steven Zaillian, Moneyball; Bridget O’Connor, Peter Straughn, Tinker, Tailor, Soldier, Spy Will Win: The Descendents The Descendents is this year’s silver medalist, so it’ll gobble up any award that The Artist isn’t nominated for. After winning dozens of awards from critic’s groups around the country, this one Should Win: Tinker, Tailor, Soldier, Spy Let’s be real, this is a shitty field of nominees. In lieu of someone who really deserves it, I’ll pick the folks who managed to compress a dense novel into a tidy two-hour movie. Best Original Screenplay Woody Allen, Midnight in Paris; JC Chandor, Margin Call; Asghar Farhadi, A Separation; Michel Hazanavicius, The Artist; Kristen Wiig and Annie Mumolo, Bridesmaids Will Win and Should Win: Midnight in Paris The Artist could come back to steal this one from the man who rightly deserves it. If that happens, I will be leading the rioting. Who’s with me!? Best Supporting Actress Berenice Bejo, The Artist; Jessica Chastain, The Help; Melissa McCarthy, Bridesmaids; Janet McTeer, Albert Nobbs; Octavia Spencer, The Help Will Win: Octavia Spencer Against all of my hopes and dreams, Spencer has won almost every major award for her work in The Help. Cause frankly, that shit’s racist. It’s highly unlikely that trend will stop at the Oscars. Vote splitting between her and Chastain may pose Berenice Bejo as a spoiler. Should Win: Melissa McCarthy I believe that every year, the Academy should take the time to honor at least one actor who has the courage to loudly shit their pants on screen. They should make that award; we’ll name it after Al Pacino. Best Supporting Actor Kenneth Branagh, My Week With Marilyn; Jonah Hill, Moneyball; Nick Nolte, Warrior; Christopher Plummer, Beginners; Max Von Sydow, Extremely Loud & Incredibly Close Will Win: Christopher Plummer I found Beginners to be a little to twee for my tastes, but Plummer does fine work. He’ll win his obligatory overdue award this year…cause he’s old. Congrats, I loved you in Sound of Music.

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Should Win: Nick Nolte Speaking of overdue awards, how about one for Grandpa Mugshot. Warrior was exceptionally badass, and the whole cast really deserves some recognition, but I’m still glad to see Nolte get some love. Best Actress Glenn Close, Albert Nobbs; Viola Davis, The Help; Rooney Mara, The Girl With the Dragon Tattoo; Meryl Streep, The Iron Lady; Michelle Williams, My Week With Marilyn Will Win: Meryl Streep It’s Meryl Streep. Playing Margaret Thatcher. What else can I say? They started carving her name on the statue when the casting was announced. That being said, Viola Davis may steal this one after her SAG win. Should Win: Rooney Mara I had some pretty big issues with The Girl with the Dragon Tattoo, but Rooney Mara was not one of them. What a transformation for the nice young lady who told off Mark Zuckerberg in The Social Network. Best Actor Demian Bichir, A Better Life; George Clooney, The Descendants; Jean Dujardin, The Artist; Gary Oldman, Tinker Tailor Soldier Spy; Brad Pitt, Moneyball Will Win: Jean Dujardin It’s a two man race between Clooney and French Clooney. When in doubt, bet on The Artist. Those geezers at the Academy love that movie. Should Win: Gary Oldman How on Earth is this Gary Oldman’s first nomination? Gary Oldman is so good an actor, I think he might actually be an elaborate creation of Daniel Day-Lewis. His work in Tinker, Tailor is some of the best in career, too. Best Director Woody Allen, Midnight in Paris; Michel Hazanavicius, The Artist; Terrence Malick, The Tree of Life; Alexander Payne, The Descendants; Martin Scorsese, Hugo Will Win: Michel Hazanavicius There’s a chance that Scorsese could take this award, but my gut tells me to go with shiny newcomer from France. The Artist is poised to win any award it can get its hands on, and this one is also a safe bet. Should Win: Terrence Malick Did you guys see those fucking trees and shit. That shit was fucking profound. I don’t know what that shit meant (I was baked as a motherfucker), but damn if it wasn’t pretty. Best Picture The Artist; The Descendants; Extremely Loud & Incredibly Close; Hugo; Midnight in Paris; The Help; Moneyball; War Horse; The Tree of Life Will Win: The Artist Silent, black and white, and about the history of Hollywood? We have a winner. The Artist is easily this year’s film to beat, and I’m fine with that. The film is sweet and interesting enough to justify the silent gimmick, and at least it’s a little less obvious than The King’s Speech. Should Win: Midnight in Paris Unfortunately, my favorite film of the year was not nominated (sorry, Drive), but my second favorite still made the cut. Both Hugo and War Horse are gorgeous in their own right, but only Woody Allen made my heart well up quite so large this year. That a man well into his 70s could produce a film as lovely, sweet, hilarious, and poignant is a testament to the enduring legend of Woody Allen. He’s one of the best we’ve got.

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WU

ALBUM REVIEW: LYF’s Go Tell Fire to the Mountain by billy ceskavich

The band that recorded an album in an abandoned church. Because, WU LYF is way too edgy for the standard conventions that most bands enjoy. Press releases. Regularly scheduled shows. A studio. WU LYF (which is an acronym for World Unite! Lucifer Youth Foundation) took England by storm this past year with the release of their first studio album, Go Tell Fire to the Mountain. They quickly rose to fame in the English press, ironically, by ignoring the press altogether. To add to the oddities of this group of musicians, WU LYF portrays themselves to be a sort of anarchist cult. Try making sense of their website, which is a mix of surreal collages and what seems to be political propaganda. Beyond their deep cult of personality, however, WU LYF are still musicians to the core. Their album has a beautiful and unique sound that can cut deep into an emotional listener. In keeping with their church-studio, there is obviously an organ, whose powerful chords and persistent presence in most songs portrays a sense of grandness. You can easily hear sharp guitars reverberate off of the presumably broken walls surrounding the band as they play. And then there is the singing, which is hard to call singing. Lead singer Ellery Roberts, along with a group of various supporters, belch guttural lyrics that sound more like howls. Nevertheless, despite all the oddities, these songs offer some powerful poetry. WU LYF truly live up to their name: they are about revolution, anarchy, and freedom. In “Summa Bliss,” Roberts wails about the “mountain” of society that is just waiting to spill its riches. In the epic “We Bros,” they criticize society for attempting to turn the wild animal of man into a violent, bureaucratic mess. And, in “Spitting Blood,” Roberts laments about the painful burden that knowledge of the world can bring. All WU LYF wants is for the children to run “free.” And if freedom means blindness to the evils of society, so be it. At certain points in this album, such as “Cave Song,” the lyrics become so unintelligible that each listener could create their own message. And that, it seems, is exactly the point. WU LYF are about the power of emotion and the freedom it can bring. For WU LYF, that freedom is through a clear rejection of society and an embrace of nature and brotherly love. As the band members chant repeatedly in their powerful closing title, “Heavy Pop”: “I wanna feel at home.” WU LYF, therefore, should resonate with a plethora of kids and young adults who can easily adapt this message. WU LYF is the older, wilder cousin of the Occupy Movement, and that is exactly their biggest challenge. The press is already beginning to react negatively to their anarchist motif. Will WU LYF go the way of Lady GaGa and promote eccentricity for the sake of eccentricity? Or will they adapt and evolve their own ideology? Only time will tell. And most likely, WU LYF does not care at all. Since when did they care about the press anyway? “We bros, you lost man.” To WU LYF, they have already won, despite what anyone says.

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THE RENEGADES #5 by Ibet Inyang and Jasmine Holloway

We’re back!!! With even more reviews!!! But don’t forget to check out our dope blog, therenegademusic.tumblr.com it’ll change your life. rock the dome review by Ibet Inyang We’re still tripping off of Rock the Dome. Ludacris and Rick Ross’ performance at SU Thursday had us dancing, hollering and I just about sweated my perm out. However, I think most could agree that Ricky Rozay’s performance was less than amazing. First off, his DJ was pretty wack; a MacBook is not the same a set of turntables. But Ross’ performance just wasn’t all that great. When he wasn’t wiping his forehead at the back of the stage, he was just doing short snippets of songs, which were cut off by his annoying “Maybach Music” slogan every two seconds. However overall, his set wasn’t that bad, he even kept his shirt on, but Ludacris was just so much better. our rating: Luda took us all the way back to 2000, performing old and new hits and everything in between. He threw out so many of his number ones that everyone suddenly remembered how fly he is in mid-‘aye!’ He had a DJ that actually knew how to kill it on the ones and twos and gave an energetic performance that had me hyped up during the whole concert.

Dope!

the super bowl review by Ibet Inyang Madonna’s Super Bowl performance was....well, interesting. our The soldiers at the beginning were a little random, but her collaborations were dope, from LMFAO to M.I.A. However there was a lot of lip-synching going on, which was especially unacceptable on Nicki Minaj’s part seeing how she wasn’t even dancing. But I’ll give Madonna a pass, she’s like 80 and was shuffling in heels!

rating:

Ehh. 15


spoke by mirrah stoller The relationship of certain writers and philosophers to paradox is dark and ironically amorous. One must be a special kind of crazy genius to embrace such with full understanding. A dualist of extremes; somehow uniting good and evil, chaos and order, and a constructive desire to self-destruct (or is it the other way around?) must somehow all remain together in the same impossibly cohesive series of synapses that is the human mind. Or is it their brain? And how do we know anything when these synapses keep jumping about and reforming; when scientifically theoretical gaps in their previous system can simply re-create; ever-moving molten plasticity of structure; is this for sure? Existential postmodern categorize what you will this is my state of mind. Does it matter whether we decide to run or to drift when all material is up for recombination and paradox runs rampant and unanswered in the cities of thought that make up our current atlas? It’s mind versus society; the answer to that choice between head and the globe, is yes. It is always yes, because human made the world in its own image. We couldn’t help it. So perhaps the only way to truly find god and be at peace with all the chaos is to go to the woods, fractal cool the jets, and don’t you ever ask why you didn’t go back. Of course I am human, and therefore intrinsically bound by society, so that’s not a real conclusion. The real way to embrace paradox is to stop and smell the roses and pine needles of words and ideas that make up a circle of questions; life. Schizophrenia Tourette’s secondary tertiary orality categorize what you will but it is all the same and so we keep speaking let it out.

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art by ray mcandrew

17


Meet the low suns by queen karen edith millar

Not many bands are personally asked by Chris Martin to support his multi-platinum selling band within less than a year of formation. It came as a shock to me too after I saw them, playing their first ever show no less, in a grimy basement in Hoxton in May last year; not because I feel they aren’t deserving of such an honour; a group formed of men as talented as they are attractive (yeah, they’re super hot)- but mostly because they seemed so underground (literally – HA) and so full of the DIY mentality, whether through choice or lack of industry interest, that it would almost be impossible for them to hit the dizzying heights they are now no doubt destined for. Their music is pretty generic; I mean this in the best possible way - soulfully crafted indie pop songs that are more than suitable for radio playlists but will still allow the average Joe to maintain to those he wants to impress that he “listens to cool music.” Check their acoustic version of Russian Fields on YouTube. It’s sassy; and it will give you a good excuse to creep on lead singer Jack Berkley, ULTIMATE swoon. The Low Suns are a band that isn’t for everyone but everyone will inevitably listen to. Best for teenage girls and 30-something corporate males trying to recapture their spent youth with something vaguely hip; this said when this London band inevitably hit the mainstream I won’t be turning the volume down – if they’re good enough for Coldplay, they’re good enough for me.

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From Across the Pond: TOWNS

by queen karen edith millar WHO: A four-piece consisting of men getting by on musical talent rather than their looks apparently. (Sorry, if you’re reading, but I guess it’s a compliment in a backhanded way.) WHAT: Shoegaze, baggy guitar heavy music that is predictable but also very listenable; hey, if it’s not broken, why fix it? WHERE: They’re based in Bristol. It’s one of the few places to go outside of London if you’re a music lover. Just don’t head any further west; you’ll hit Wales. Bad idea. WHEN: Next single, “Just Everything,” is not due out until May this year but in the meantime do a YouTube search for ‘Heads Off’; my personal favourite. WHY: I’m almost asking myself why the industry needs another troupe of try-hard indie boys making music that sounds relatively generic (I’m looking at you, Vaccines.) We all know this stuff sells; just don’t expect it to go down well in Brooklyn.

Songs to Cook to by giulia aliverti “Coconut” by Harry Nelson // Any song that encourages you to mix yourself a little cocktail while you cook should be played at every meal time...*hic* “How Do You Like Your Eggs In The Morning?” by Dean Martin and Helen O’Connell // How do you like the idea of Dean Martin tickling you in your nightgown as you wipe the sleep out of your eyes and ‘cook’ that bowl of cereal? I know I do. “Spooky” by Dusty Springfield // I put this on every time I prepare for a dinner party... It makes me feel grown up and sultry in my apron. “Flute Fidelity” by Blend Crafters // Food can be mysterious- How long should I boil this egg for...is that too much pasta for two? Why not accompany those mystifying moments with this little gem (lettuce...hey!). “Chainsaw Calligraphy” by 16Bit // Perfect if you’re using the food processor or carving up meat.

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WANT MORE MISCREANT? My miscreants! Thank you all for reading this here sixteenth issue of the zine. And, of course, of course, a very special thank you to everyone who submitted. I was glad to finally have Sarah Aument on the cover of an issue. She has a lot going on, and you had better keep your eye on her and her most excellent band. Be sure to keep checking their Facebook for any releases, tour dates and announcements. Also, I’d like to thank the newest editions to the Miscreant team, Karen Millar and Rachy Becker, for their hard work! So, my fellow misfits, be sure to send your concert reviews, your lists of your favorite record stores, your tall tales about meeting Chuck Berry (as well as any questions about the zine or how to get involved) to: themiscreantt@gmail.com! Love, the miscreant

The Miscreant - Issue 16  

Featuring Sarah Aument!

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