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Feb/March 2013 Issue 2

Image: FLICKR: esther jung

IMAGE: FLICKR: spaceabstract

{Take your pick} news pages 5-18 The Danger Days are over, Morrisey, Avril Lavigne Thirty Seconds To Mars, The Courteeners Ant and Dec, Lady Gaga, Beyonce, Justin Bieber Reading and Leeds Takeover Festival News

introducing pages 19-22 Jack’s Recommendations Emily’s Recommendations

Lives pages 23-27 The Automatics Bullet For My Valentine Foals

Features pages 29-38

Bleed From Within

10 Best Beards of the Business Size Doesn’t Matter Paramore Punk Isn’t Dead

Reviews pages 39-45

Justin Timberlake, The Strokes, Bastille, The Story So Far Stereophonics, Bon Jovi, Black Nevada Kerli, Dido, BOY, Bowie, Wavves

{The TEAM} What have we been listening to this month? Mallory Knox- Oceans So catchy! Sticks in your head and it’s almost impossible to get out and it’s from a great up and coming British band with so much great material! - Elly Rewcastle. Editor .

Macklemore & Ryan LewisSame Love It’s rare to find a song so beautiful, heartwrenching and truthful in today’s charts. This song is all three, heartwrenchingly beautiful, truly inspiring.

Biblical- Biffy Clyro. My favourite song on their latest album! Perfectly showcases their new direction and the lyrics make me swoon.

- Ashley Chalmers. Reviews Editor.

- Katie Pathiaki. Assistant Editor .

Suede- It Starts and Ends With You. Depraved, euphoric and weirdly sensual... one of the best songs they’ve ever written. -Jack McKeever. Introducing Editor.

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Oh Boy- BOY I love the lyrics in this song, it reminds me of 500 days of Summer “She’s so easy to fall for but Boy she’s so hard to hold”. Songs that speak of long sunny days are necessary when it’s winter all year round.

I Know You Too Well to Like You Anymore - Reel Big Fish. Yet another hate-filled song wrapped up in a fun ska coating, they always manage to pull it off so well! - Sam Lawrie. Writer.

-Katrina Quick. Features Editor.

SubstituteFrank Turner. Perfect marriage of poetic musings, intelligent lyrics... and all-consuming depression. - Tom Beasley. Writer.

Sacrilege Yeah Yeah Yeahs. If you were to go to church, the only thing I’d want to see is Karen O with a gospel choir, as Brian Chase drums his way and Nick Zinner solo’s into oblivion.

All Star- Smash mouth. When we all get a little bit stressed in life we need to learn to take it easy and not be so serious all the time -just like Shrek in his swamp. - Ashleigh Rigden. Writer.

Up In The Air- 30 Seconds To Mars. Bit more pop-y than I’d hoped but I’m glad they’re back, and still think it’s as perfect as anything else they’ve released. - Megan Hunt. Writer and Designer.

-Kitty Fisher. Writer and Photographer.

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Photo Credit: Flickr: tumultuouswoman


Particle Physics Jack McKeever Introducing Editor

Image: Flickr: Kevin Cortopassi

In light of recent research, the Daily Mail finds Jack Mckeever wondering if science is taking the freedom and enjoy ability out of music? Yesterday (Monday 4th March) I was scrawling through the internet, trying to find something unproductive to do with the time in which I was supposed to be writing essays, when I came across a link to an article on the ever sensational (with only the negative connotations of the word applied) Daily Mail website. “Heavy metal moshers move just like particles!” proceeded the headline. The story followed that some students at Cornell University, Ithica, New York had somehow proven that when “moshing” concert goers actually act in a way that follows the same logic as 2D gas particles. As much as I’d love to tear apart the obvious melodrama of the linguistics employed in the article, it’s the crux of the story itself that had me pondering the question; “Is Science ruining music?”. The article itself at one point explains that people involved in mosh pits move in a completely random fashion. That’s exactly what they ARE doing. During a mosh pit, no one stops to think “Hang on a minute… The way we’re all throwing ourselves into each other is exactly the same way Carbon Dioxide moves!”. They move the way they do because it’s instinctive, it’s random, something which is a large part of the thrill of indulging in such practices. Personally, I don’t believe that anyone would need/ want to know that they move like particles when participating in moshing. They are after all, simply enjoying themselves. The real kicking point of the article though is when the person who lead the investigation, Mr.

Silverberg, says that after observing that moshers did seem to follow “collective rules of motion” he had a “hard time focusing on the music for the rest of the evening.” That very quote entails, between the words, everything that I find unsettling about Mr. Silverberg’s investigation. It seems to me to be a great shame that someone would subsidize focusing on the music in the name of science. We know that music is manmade and meticulously crafted. We know that more often than not is ingeniously put together to tug at our heart strings, or at least some form of emotion in us. We know that there are certain constructions and chord progressions that do stir something unexplainable in us (unless of course you delve into the “Science” of it all). However, part of the beauty of music is that it feels natural. We interpret it however we want, however it feels at the moment that it hits us. It’s a feeling that seems both natural and free. For Science to stake a conscious claim takes all that away. If you’re constantly wondering how songs are made, rather than letting the sounds engulf you, then surely you enjoy it less. It’s about the impact of music, rather than what it means scientifically, or how it makes you feel the way it does. Is Science ruining music? In terms of the technicality, the answer will always be no. The thing is that when you put a record on, the technicality shouldn’t matter. What should matter is how that music makes you feel and how you interpret the lyrics and sonic constructions. Music is beautiful because it’s so free. Containing it within its own science is only to curtail that freedom.

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Morrissey cancels remainder of US tour

The Smiths vocalist and indie icon has been forced to axe 22 planned tour dates in America due to health concerns. A statement released on his behalf on 15th March revealed that Morrissey will not be able to continue the remainder of his US tour for medical reasons. The 53-year-old frontman has been suffering from poor health recently, which resulted in him delaying the start date of tour and forcing

him to cancel 21 previous dates in 2013 alone. In October 2012, Morrissey postponed 26 shows so that he could return home to England and spend time with his mother, who was struggling with her own health issues. Morrissey’s publicist Lauren Papapietro assured fans that they will be able to gain refunds for the cancelled dates.

Avril Lavigne new single to feature fan participation International pop superstar, Avril Lavigne, is set to return this summer with a new single, “Here’s To Never Growing Up,” due for release on 2nd June. Recorded at Henson Studios and co-written with fiancé Chad Kroeger along with Dave Hodges, Martin Johnson and indie hip-hop sensation J.Kash, produced by Martin Johnson and mixed by multiple Grammy-winning hitmaker Serban Ghenea, “Here’s To Never Growing Up” personifies the party-like atmosphere that existed in the studio during the recording of Avril’s 5th studio album. “Here’s To Never Growing Up” will be available at digital retailers everywhere.

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Celebrating the release Avril fans are invited to star in the lyric video for “Here’s To Never Growing Up” using a groundbreaking app where fans can submit their own content from their computer. The app will feature a brief audio clip of the track and participants can either upload photos of themselves with Avril and/or photos inspired by the title of the song, OR they can sing-along the words to the song title and using the embedded video technology the app will capture and submit their clip.

The Danger Days are over. My Chemical Romance call split.

On the 22nd of March New Jersey PopPunk/ Emo icons My Chemical Romance have announced that they are calling it a day after 12 years together. The band announced the split via their official website, and launched a statement which concluded “like all great things, it has come time for it to end. Thanks for being part of the adventure.” Two days after the statement lead singer Gerard Way published a tweet that denied that breaking down relationships between the band members was in any way responsible for the breakup of the band. My Chemical Romance were almost singlehandedly responsible for bringing the Emo/ PopPunk agenda to a wider demographic in the early 2000’s. They were formed by Gerard Way and original drummer Matt Pellisier about a week after the 9/11 attacks. Way has said that watching the planes crash into the World Trade Centre impacted his life in an enormous way, and that was the basis of his motivation to start a band. The song “Skylines and Turnstiles”, which appears on their 2002 debut “I Brought You Bullets, You Brought Me Your Love”, is an expression of Way’s feelings towards the attack. They showed the first signs of a major breakthrough with their 2004 album “Three Cheers for Sweet Revenge” and continued on to cement it with 2006’s “The Black Parade”, which is still their most popular album to date. The most prominently cited influences by the band were Queen, Misfits and Black Flag, however

they also heavily admired the UK post- punk scene, also citing The Cure, Joy Division and Morrissey. My Chemical Romance’s career did not traverse without controversy, however. With their lyrical trajectory pointedly towards notions of loss, suffering and depression, they were often criticised and identified as an “Emo” band, and as they grew bigger and bigger this only seemed to deepen the backlash. Gerard Way always publicly denounced the “Emo” tag, calling it “fucking garbage” and saying “it has never been an accurate way to describe us.” The pinnacle of the “Emo” term backlash came in 2008, when The Sun posted an article titled “Suicide of Hannah, the Secret Emo”. The article centred around the death of 13 year old Hannah Bond, who had hanged herself. The article explicitly linked Hannah’s death with a “selfharming emo cult” and pinpointed My Chemical Romance’s most recent album at the time, “The Black Parade” as being potentially linked. The band’s final album was 2010’s “Danger Days: True Lives of the Fabulous Killjoys”, which marked a considerable departure in sound for the band, preferring a more futuristic, straight- up pop- rock direction. On the 23rd of March a petition was launched to try and encourage the band to partake in a farewell tour. “They need to say goodbye to their fans properly if they’re going to do it at all” read a statement from the petition’s founder Cameron Lee. Over 6,000 people have signed the petition. You can find the petition on

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Thirty Seconds To Mars new space album s u r p r i s e 30 Seconds To Mars took no easy turns with this latest album. From Space to world famous artists, they’ve done everything their own way. May 2011 30 Seconds To Mars hinted that they may be going on hiatus. This seemed to be confirmed when they closed their Reading and Leeds 2011 performances saying that it will be the last show in the UK for a long time. March 2013 we finally get to hear from them again and in true 30STM style, they haven’t released the single in the conventional way. The band teamed up with NASA to launch their first single, ‘Up In The Air’ into space. On the 1st March a CD copy of the song was launched aboard SpaceX CRS-2. It was given its

first ever play to the E xpedition 34 and 35 crew when it arrived to them on 4th March. Following the first play of the single, the band carried out a Q&A session at Mission Control, Texas. The full single was made available 2 weeks later and is now available for download. The band did nothing by halves with this album. The Space Launch was not the only impressive feature of this album. Lead singer, Jared Leto produced the album himself and with Steve Lillywhite on four of the tracks. The album was written and recorded in various locations around the world, from California to India. The album is due for release In May.

Courteeners to play under the stars of Manchester Courteeners have announced two headline outdoor shows in association with Fosters Good Call in Manchester at Castlefield Bowl on 5th and 6th July, which will go on sale on Thursday 28th March. The shows will follow the bands recent and biggest ever tour of UK and Ireland with 20 sold out shows including a packed out show at London’s Brixton Academy. Each show will host a capacity of 8000 fans per night and tickets are priced at £28.50 and go on sale through Gigs and Tours at 9am this Thursday. Supports across both dates include Miles Kane, James Skelly & The Intenders, The Strypes, The

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Heartbreaks and Findlay. Liam Fray said: “To spend two nights with our fans under the stars of Manchester will be very special indeed. It’ll be great to finally be bringing ANNA home. With some amazing supports, people are in for a treat... July can’t come quick enough. Let’s pray it doesn’t rain,” Courteeners will release their new single ‘Van Der Graaff’ on 6th May, the follow-up to ‘Lose Control’ which was the first single from their top 10 album ‘ANNA’, and is an epic anthemic track with an addictive guitar riff and soaring vocals. It is sure to be a huge festival track this summer.

news Ant and Dec ‘Rhumble’ the charts Comedy Geordie duo Ant and Dec could well be on course for their first number one single. The pair, known for their run on I’m A Celebrity Get Me Out of Here and recently Saturday Night Takeaway. The two returned to their roots last week as PJ and Duncan, roles they originated on popular kids TV show Byker Grove. The single, ‘Let’s Get Ready To Rhumble”, made famous in 1994, was performed “as a laugh” on Saturday Night Takeaway last weekend. The track went quickly to the top of the iTunes chart and on Tuesday the Official Charts Company confirmed it was leading the pack for Sunday’s final results. Ant McPartlin told ITV1’s Daybreak that they “Never expected it would be number one in the midweek charts” Declan Donnelly confirmed that all

money from the revised hit would go to the charity “Childline” as the pair are both patriots of the charity. “We thought we’d fold up our hockey tops and that would be the end of it, and that’ll be it, and it’s gone mad. We got to Monday, the weirdest weekend, people were buying it, we thought, we can’t take any money from this, anything we do, we’ll give to charity.” By Tuesday the track had sold over 35,000 copies, and if it keeps up the momentum it could be in line for the top position.

Gaga in Wonderland. Eccentric pop star Lady Gaga is said to be throwing her birthday party with an Alice in Wonderland theme.

The singer, whose real name is Stefani Germanotta, is throwing herself a ‘mad hatters tea party’ as she celebrated her 27th birthday on the 28th March. The singers’ boyfriend Taylor Kinney and her friends are reported to be organising her the party. ‘Gaga’s always been obsessed with taking tea and tea sets on tour to keep her happy, so they are putting a smile on her face with this Alice In Wonderlandthemed do,’ a source told British newspaper The Sun. The star is known for her love of china and has regularly been seen incorporating the look into her outfits before. The insider revealed Gaga was gifted a Victorian poison bottle for the occasion, which was inspired by her recent beauty launch. Gaga is currently recovering from an operation on her hip after she was forced to cancel the remainder of her ‘Born This Way Ball’ tour when it was revealed she was suffering with synovitis – inflammation of the joints – that was making it hard for her to walk. After the operation, the singers walking abilities are still not up to scratch and she has been seen using a 24-carat gold wheelchair. Due to the operation, the singer will be partaking in a strictly no alcohol party with close friends and family in attendance.

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Queen Beyonce? It’s got a “ring on it”. by the much loved creators of children’s hit Ice Age, and is thought to be one of the most exciting 3D films of 2013.

Twentieth Century Fox have just released a brand new featurette for new animated movie EPIC! Staring the much loved Beyoncé Knowles. The featurette shows the singer discussing her role in the forthcoming Blue Sky production as well as showcasing some brand new footage of the film itself.

A CG film filled with action-adventure, EPIC tells the tale of an on-going battle deep in the forest between the forces of good and evil who both fight for the preservation or destruction of the natural world. Beyoncé, who plays the Mother Nature style character of Queen Tara, has said “What I like most about Tara is that she sets a great example for the people she protects. I’ve always wanted to be a queen.”

EPIC which hits the big screens in May, is made

He’s at it again! Justin Bieber in spitting disaster Superstar turned bad boy Justin Bieber is once again getting more than just a slap on the wrist after being reported to authorities by one unimpressed neighbour. The nineteen year old was reported to have assaulted a fellow resident who also lives in the same-gated LA community. It is believed that the singer upset a number of local residents by driving around in his Ferrari at speeds of up to 100mph and that one man decided to confront Bieber after several residents admitted concerns for their safety. When the man confronted Bieber, it is reported that the teenager spat in his face and threatened to kill him. During the confrontation, Bieber allegedly yelled “Get the f**k out of here. I’m gonna f**king kill you.” The unnamed complainant – described as a 47-year-old successful businessman – has been

working closely with the authorities and allegedly would like Bieber to be prosecuted for the act. TMZ reports that sources close to the department say the act is considered as ‘aggressive’ and ‘disgusting’ and is treated seriously because it poses a health risk. The 19-year-old’s security team escorted the unnamed neighbour off his property. Justin Bieber has since insisted that he never attacked or spat at the man and contends that the complainant was actively trespassing throughout the incident.

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Photo Credit Felisha Tolentino

Green Day and Nine Inch nails in reading and leeds takeover Pop-punk pioneers Green Day are the latest and final headliner to be added to the phenomenal bill of this summers Reading and Leeds festival. The American punk band return to the festival after a surprise performance on the NME stage at last years Reading festival. Looks like Leeds are going to get their set after all. The addition finialises the three main acts for this years festival, with the US trio joining the real Slim Shady as Eminem and Scottish rockers Biffy Clyro. Also included in the announcement, Nine Inch Nails are due to make their return to the live scene after disapearing off the scene in 2007. Headlining the Radio 1/NME stage is Grammy-award winning dubstep DJ Skrillex, ‘Mercury Prize Winners’ Alt-J and french outfitters Phoenix.

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Spreading across the weekend and carrying on through the weekend, the Radio 1 Dance stage is back with some of the most talented names in the genre. Electronic producer Sub Focus Live is the first headliner, followed by dance heavyweights Magnetic Man and Knife & Party. Devlin will join grime boss Wiley on the Radio 1 Xtra stage. Mallory Knox, The Blackout, While She Sleeps, Hadouken!, Modestep and Chase and Status are also amongst the big names added to this years festival. Get your tickets now! Weekend tickets £202.50 plus applicable booking fees . Day tickets Friday, Saturday, Sunday £90.00 plus applicable booking fees. Early entry permits £15.00 For a full list of authorised ticket agents please check the Festival Republic website

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Glastonbury 2013: must go or no show? katie pathiaki. assistant editor.

Finally, the Glastonbury line up has been annouced. But is it everyones cup of tea? Who will be flogging their tickets, and who will be dying to grab one? Looks like classic glasto - a well rounded lineup. I'm jealous I'm not going. I would have liked to see: Toro Y Moi, Jake Bugg, Simian Mobile Disco, Jessie Ware and Major Lazor

Alex Folkard, 18, Chepstow.

The variation in glastonbury is never to be doubted, and this year Emily Eavis has pulled off a diverse line up yet again. There’s certainly something for everyone, although hardcore festival goers may see this as a deviation from its old values.

Jack Greenwood, 19, Bath. It looks like it’ll be able to satisfy everybody’s musical tastes cause the inclusivity of all these different genres is insaaane... which means that you’re always gonna be able to comfortably watch an act or perhaps stumble upon new ones

Bertie Adam, 19, Taunton. The Glastonbury line up looks terrible. So glad I’m going to Reading.

Natalie Smyth, 19, Northampton. I dont like the fact that you get loads of different types of people at Glastonbury.. Atleast with festivals like Download you get metal heads and general rock lovers as the majority... Just feels better to me.

Adam Thomasson, 18, Farnborough.

More acts to see than i’ll have time. There’s always too many people to see, but it’s always amazing anyway.

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introducing Chosen by: Jack Mckeever.

PRO ERA At the risk of submitting myself to a wave of backlash for hyping a band up prematurely, New York’s 47 strong PRO ERA crew entail everything that is exciting about Hip Hop in 2013. Featuring rappers already adjusting to the spotlight (Joey Bada$$, CJ Fly, the now tragically deceased Capital STEEZ) Their debut collective mixtape “PEEP: The Aprocalypse” is free to download from their website, and is well worth the venture. Every

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track traverses a long a gorgeously stoned beat and every rapper has their own razor sharp, quick witted and lightning fast flow, showcasing a nothing short of remarkable level of talent for 1820 year olds. What’s even more refreshing though is that their music never seems contrived, or like a gimmick (*cough*Odd Future *Cough*). This is THE Hip Hop group to keep your eye on in 2013.

The Child of Lov The Child of Lov is a strangely elusive character who hails from the Netherlands, and it makes sense. His futuristic, deliriously fuzzy take on Princeesque funk and R’n’B is an amalgamation of everything that Amsterdam has come to stand for. It’s sexy, stoned, hazy, soulful, but also seedy and creepy, lingering and mystifying. All these characteristics have twisted his sound into one

which has not only got the attention of a relatively wealthy proportion of blogs and magazines, but also a certain Mr. Damon Albarn (Blur/ Gorrillaz), who liked what he heard so much that he leant The Child of Lov his London recording studio to record his debut album, which is due out on the 6 th of May via Double Six records. The album will also feature a collaboration with underground Hip Hop icon MF DOOM.

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Chosen by: Emily Reason.

Our hollow our home A more local group of lads, Our Hollow Our Home, from Southampton, have taken to the limelight throughout the town with an ever-growing number of Facebook likes. On the other end of the scale, the lead singer Connor Hallisey and backing vocalist Tobias Young really bring a mix of voice to the band. The majority of their recent release, ‘Aversion,’ holds to the tone of the metal/scream side of music, however in parts there stands a

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much softer voice. This brings a great way to express different lyrics and emotion surrounding these stories. I have great expectations for this upcoming band, holding such a strong group of people around Southampton and the music scene. Having already been signed by Seasick Promotions & Management, the only direction for these boys is up.

Forever can wait For more of an alternative rock feel, head over to take a look at this group, Forever Can Wait, standing as a 5 piece band, 4 boys and Tash Crump, lead singer. Tash’s brilliant voice brings a rare feel to the rock genre as it stands with a small number of female singers. Their new release ‘Rest’ has brought much attention to the group, who formed in 2009. Still holding the black cloud over their heads that the band is still unsigned, they are still holding onto hope by planning their new EP to be released this year. Look out for these guys touring throughout 2013- one of the liveliest bands in the area!

robbie sea A group of Essex boys aiming to head into war with the manufactured, auto-tuned parasites that are sucking the life out of pop music. Robbie Sea was born in 2011 and it is surprising how these boys haven’t had more attention, with singer Rob Clemson’s beautiful covers of Michael Jackson’s ‘Billie Jean’, Jessie J’s ‘Who you are’ and Eminem’s’ ‘Lose Yourself,’ to name just a few. Despite pulling in YouTube views the boys seem to have only just made it into the spotlight, setting up a twitter account to draw in their fans. With the newest edition to their collection, the boys have recently released their fantastic video for ‘Levitates’, an upbeat, must have summer tune. With the uplifting feel to the song, it really gets you motivated to have a good time. I definitely recommend having a listen to these boys!

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The Autonomics february 17th 2013 Hawthorne theatre portland, oregon Kristen Fisher The Autonomics may have a hard name to pronounce or even get around. But in the turn of events that happened at the Hawthorne Theater, only about a handful of people showed up but if you were there, you would have experienced a show that only head thrashing, punk kids dream about. As the trio walked on stage that had no barrier, or even a stage to present them, the chaotic, melody of Not Even 21. Where was the hype that you normally hear about new and up-coming bands? While they mix together a fusion of energy, that would make any band that was opening or closing the show, think twice about where they should escalade the climax. At one point I saw that the other two bands (Rat Party and The Orwells) come out to see them perform. As we were front a center, bracing for whatever impact would decide to spin or brains around a bit. We feel into the notion of living in the music. The tight percussion of every note bounced around the room, connecting us all back to the very lyric that licked the microphone. Intensity became a thing of the past as the floor that barely held anyone, felt like it was being jumped on by hundreds of people, while the bass jutted out cornering everyone in the venue. When Danger Danger! poured out of the amp systems, I swear the amount of concentrated, true early punk was being filtered out as a blues musician joking around had appeared on stage. As the song progresses, you feel yourself walking, then running, then eventually existing only in the chords that could be strummed fast enough to equal out the pace of your heartbeat. If heart attacks come on as such, then I was gladly in heaven. This Portland based band has been hidden in the shadows, at least from my precision of view; hen Revolver evolved

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from the song before playing out as a story, acting as a stable biography of ideas. Of a life lived in the vague light of day. Keeping the beat steady as a train rolling down the tracks, the drums remain a part of your attitude for the rest duration of the track. Being a young person that is looking for that ultimate experience at each show, you want to be witness to something extraordinary, capture a photograph that could only represent a mood and setting that no one else can re-create. Riot Right Now felt the part. Coexisting between the stage and what was being born from the swirling desire the song invokes. The stop and go bits make you skip a few intrusive beats, but none the less that stop and go keep you on your toes. As if the band were keeping their eye on you, watching that you were keeping up. You’re A Hot Mess and Everybody Knows It played on as a slower track for about 4 seconds until the guitar melted like sugar into the drum kit. What I can only describe as the moment when the band decided to go into a free for all. Throwing their bodies into the middle of the

stage, as Vaughn Leikam (Bass player) catapulted into a mission plan by running and jumping across the stage, while losing sight of his bass; then nearly crashing into it on the floor. As Dan Pantenburg(vocals, guitar) rattled the cages of various equipment lingering around, the exact moment of oblivion in the greatest manner, as he stood on top of Evan Leikam’s drum set. We were set up as each turn of the song grew harder and louder, treading the grounds of a Ramones buzz saw effect. I was not expecting to leave that night inspired to grab my guitar and start playing the very moment.I entered the door. Or the fact that getting to bear witness to a band that is on the break of something wonderful, no something incendiary in the words of William Miller. You can have a thousand songs recorded and hiding up your sleeve. But quality is the up-keep that allows the growth of lyrics, drive the bass to form around the guitar strength, tunneling down the venue bracing for the drums to kick your ass in the end. And I am happy to say, I left with that in mind.

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Lives March 17 2013. Camden Roundhouse

Bullet For My Valentine

Words: Jenna Young. Lives editor. Photos: Kayla Elliott

A great day for metal fans everywhere as Bullet For My Valentine and heavy metal friends take London As the sold out audience continued to pour into the Camden Roundhouse, Miss May I took to the stage. Their heavy metal style fit perfectly as the opening act of the night encouraging fist pumping and truly getting the audience warmed up. The crowd don’t have too long to wait after Miss May I leave the stage before Halestorm appear. It’s the drummer, Arejay Hale, who takes to the stage first in sunglasses and a face scarf. He stands on the front of the stage coaxing screams of excitement from the audience before taking his place at the drums. The rest of the band take their places on stage as their first song, ‘Love Bites (So Do I)’ starts. Arejay is unable to stay out of the spot light long, however, and launches into an extravagant drum solo with one clear purpose: to show off. He is met with cheers of appreciation as he replaces his regular stick for a pair so large he can only just fit his hand

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around them. Aside from this, Halestorm’s six song set is full of energetic metal anthems, leaving the audience wanting more. No sooner have the second support band left the stage the crowd start chants of “Bullet, Bullet, Bullet”, eagerly waiting for the nights headliners, Bullet For My Valentine. As the house music drops, screams, claps and cheers rise from the fans, only to be met with ‘Delilah’ by Tom Jones played over the speakers. If for any reason Bullet need extra credit, it is for getting a venue full of metal fans singing along to Tom Jones. As this song finishes, the lights dim and the dramatic ‘O Fortuna’ is heard as a black curtain drops revealing Bullet For My Valentine’s Temper Temper backdrop. The Welsh heavy rockers choose to start the set with a new song ‘Breaking Point’, followed by the single ‘Your Betrayal’ from their previous album Fever. It is after these two songs that singer

reappear, launching straight into ‘Alone’, a song which leans heavily on the guitar talents of Padge and Matt. These skills are portrayed brilliantly on stage and are a great start to the encore. This is followed by the old school anthem ‘Hand Of Blood’ which earns bigger cheers from those who have been with the band from the start. As if trying to drag out his time on stage, Matt then thanks the audience, not only for supporting his band, but for supporting the music industry as a whole before dedicating the final song to all of them. And it’s another old school favourite, but one that anyone who knows of Bullet will recognise: ‘Tears Don’t Fall’. As the first note starts the audience prepares for the drop, when every member of the crowd begins to headbang in unison, even those at the back by the bar. It’s a high point for the band to close their set with, but they still have one more surprise up their collective sleeve.

Matt Tuck addresses the already sweaty crowd and thanks them for coming, leading to more “Bullet” chants. The band then play through a good mix of old and new songs until mid way through their set. The lights drop and Matt stands on stage alone playing a guitar solo and leading into a mellow version of The Last Fight. Despite the slower nature of this solo performance the crowd are just as into the music as ever singing every word of the first verse and chorus played before the full band reappeared on stage. With the rest of Bullet present the song is restarted and played in its true metal form. Continuing with their varied set, they play through ‘Take It Out On Me’, ‘P.O.W.’ and ‘Her Voice Resides’ (a favourite with the crowd) interspersed with impressive guitar solos from both Matt and Padge. As the band then launch into ‘Dirty Little Secret’ from the Temper Temper album, Lzzy Hale, of support act Halestorm, returns to stage to help Matt with the vocals, adding her classic female rock vocals to an already awesome song. It is only after playing one of their best known singles, ‘Scream, Aim, Fire’, that Bullet For My Valentine leave the stage.

As the members of the band throw plectrums, drum sticks and set lists to the crowd, Queen’s anthem ‘We Are The Champions’ can be heard over the speakers, as Matt calls out ‘For the rugby fans’ in honour of his home team’s victory. All in all it was a great day for the Welsh metal-ers.

The audience, however, are eager for more with many bouts of chanting, clapping and screaming breaking out among them. Only after the third round of chanting do the band of the moment

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Bristol O2 Academy, 11 March 2013

Jack Mckeever. Introducing Editor. When Oxford math- poppers Foals released “Inhaler”, the first single from their new album “Holy Fire”, as conscious as they will have been that it is the heaviest, most stonking thing they’ve ever written, the scale of adoration and sudden boost in radio airplay was almost definitely unprecedented. Tonight, in Bristol, “Inhaler” features as the second song of the band’s encore. “Here it fucking is!” yells lead- singer Yannis Philippakis. Up until this point the show has been, as ever, insane. The band have sounded magnificent the entire way through, they’ve performed with that exuberant Foals vigour (so much so to the point that it’s testament to their skill as musicians that they can play so well at the same time), the entire crowd on floor level has been a mosh pit all evening, and Philippakis has been drowned out during pretty much every song. During “Inhaler” however comes the revelation of just what a huge deal they are. Other highlights of the night include the impregnable “Providence”, and the build- up becomes even more intense and drawn out than on the record as Philippakis hurls himself into the crowd before being carried back to the stage to round off on a blast of thrilling white noise and distortion. Three tracks in the break out “My

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Number”, the shamelessly ‘80s pop reflecting banger which really gets the crowd in the mood for the rest of the evening’s chaos. Tonight is also the first time the band have ever played “Bad habit” live and it weaves its meandering and glorious synths easily in their favour. And when Philippakis and guitarist Jimmy Smith perform “Moon” onstage together alone it’s nothing short of spell binding. Upon leaving a man standing next to me turns to his friend and says “SO good. So fucking good.” Enough said, that man.


An Interview with: Bleed From Within Elly Rewcastle Editor Bleed From Within are soon to be one of Britian’s best up and coming bands throughout the hardcore scene. Undertone caught up with drummer Ali Richardson ahead of their European and UK dates

have a very open writing process where everyone has their say, and Martyn had some great ideas. It opened a lot of doors for the rest of us and got us all thinking together in a different way. ‘Uprising’ wipes the floor with our older material. We truly consider this a fresh start, and the beginning of a new age for Bleed From Within.

How was recording the new album? Are you pleased with the overall finished product and how does it compare to your previous stuff?

You’re also going out on tour across the UK and Europe, what’s it like playing across those places?

Recording this new album was a massive learning curve for us. We learnt so much about our sound and what we were capable of musically. Two years of writing and going over all the material truly gave us the time we needed to refine our sound. Having Martyn (Evans, Guitars) join us for the writing process in early 2011 was great as well. We

Touring is the most important thing to us as a band, and thing we love most about this career. We love touring the UK, it’s where we started and where the majority of our fans are from. That will always be home to us! But Europe is so fucking cool. I’ve seen so many amazing landmarks and cities that most people my age have never even heard of! We try to make the most of our days off

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by getting up early and going sight seeing, but sometimes the hangover is too much and it’s a day in bed for everyone.

voting for us. Some of our mates are teachers and have given the website to their students! We are up against some real tough competition.

How does the language barrier, if there is one, affect your shows in other countries?

This year you’re at Hit the Deck, which is an awesome UK festival that’s finally breaking in, whats the best thing about playing festivals and do you prefer them over individual shows?

We have found that Europeans are a lot more open to us musically. They don’t tend to pigeon hole a band, or judge a band straight away. Which has always happened to us. The language barrier is really only annoying in restaurants and bars. On stage, our music translates quite well and people kind of get the idea, even if they can’t understand Kennedys accent. Testament and Dew Scented are also amazing bands that you get to share a stage with, what have been your favourite shows internationally? It is truly an honour to be sharing a stage with the mighty Testament! It’s not the kinda tour that comes along on a regular basis. It’s all a bit a surreal. Saying that, they are some of most down to earth guys and have looked after us very well. Sharing a bus with Dew Scented has been awesome also. Which bands have been your favourite to tour with? This tour we are on right now, is probably one of our favourites. We are honoured to be a part of this touring party. It’s not every day you tour with a classic band like Testament! We have had the pleasure of touring with bands like All That Remains, Soilwork, Suicide Silence, and of course, our good friends from the UK While She Sleeps, Sylosis, Bury Tomorrow, The Safety Fire. Playing with the bigger bands is truly an honour, but sometimes a tour with really close friends can be better.

Festivals are the best. You are surrounded by amazing bands, there is so much free beer, and we always meet up with so many friends. The parties are insane! We played the very first ‘Hit The Deck’ a few years back in Nottingham, but are really excited to play there again now that it’s reputation has grown. Bristol has always been a great place for us, so we were delighted when we heard that Hit The Deck was there now as well. A city that welcomes us with open arms every time we play there. It’s also a hometown show for Martyn, so we always have a bunch of friends come out to see us and party hard! The individual shows are special though, they are people that have paid to come and us especially. Our headline tour in April is going to be our first headline tour in almost 4 years! It’s scary knowing that we are the headlining band now, but at the same time, something we are all looking forward to. It’s a challenge, and a chance for us to prove that we mean business! Bleed From Within’s new album ‘Uprising’ is out now and is available for physical copy or digital download. See for more details.

You’ve been nominated for this years Metal Hammer’s Best New Band award, how does it feel? It is a surreal experience for us to be honest. We have seen so many great bands in this category over the years, and in the other categories there are some of our favourite bands. We have spoken to all of our friends back in Glasgow and have them

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Why size does not matter.. when it comes to festivals. Adam Bennett.

Summer is fast approaching and students across the country are hastily making plans to break out of University libraries and enjoy the sunshine. Since Glastonbury, Reading and Leeds increased their prices, there has been a rise in smaller festivals across the country often attracting big names in the music business. Smaller festivals not only satisfy music lovers in search of new stuff, they also Go to a lot of effort to ensure a ‘green’ ethos. For example, Gloucestershire’s 2000 Trees Festival has kept a close eye on their carbon footprint since its first festival in 2007.

BRIGHTON’S GREAT ESCAPE Held over three days in May, Brighton’s Great Escape Festival makes the most of the city’s music venues showcasing local music alongside artists GLOUCESTERSHIRE 2000 TREES such as Scouting for Girls and Ellie Goulding. The Great Escape also doubles up as a music industry Gloucestershire’s very own rock and indie festival convention featuring keynote speakers from has flourished since its humble beginnings in 2007. different musical backgrounds such as Fat Boy Previous bands including Frank Turner, Bombay Slim, Rough Trade co-owner Stephen Godoy and Bicycle Club and local Cheltenham band, Jim Executive Director of PRS Vanessa Reed. Lockey and The Solemn Sun. 2000 Trees Festival See the Great Escape line up 2013 also won the ‘A Greener Festival Award’ in 2008. Dates: 16-23 May across 30 venues in Brighton. See the 2000 Tree’s Line Up 2013 How Much: 3 day festival ticket (early bird) £57 Dates: 11-13 July, Upcote Farm, Gloucestershire How much: Weekend camping ticket £72

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DEVON”S BEAUTIFUL DAYS Voted the UK’s best family festival in 2011, Devon’s Beautiful Days Festival host’s musicians and bands from all genres of music. Artists lined up for 2013 include singer-songwriter Damien Dempsey; hip-hop legends Arrested Development and rock band Primal Scream. In 2012 Beautiful


Hampshire’s Blissfield’s Festival has a reputation of which you may have already heard. With previous artists including Ben Howard, Mumford & Sons and Laura Marling all playing at least once since the festival began 12 years ago, Blissfield’s is well known for allowing local artists to share the stage with some of music’s biggest names. Spanning several music genres, dance and dub lovers will feel just as at home as indie rockers or hipsters. See the Blissfield’s line up 2013 Dates: 5-7 July, Vicarage Farm, Winchester How much: Weekend camping ticket, £80

Days unveiled a Theatre Tent, which showcases comedy, theatre, acrobatics, mime and magic. Beautiful Days Festival See the Beautiful Days line up 2013 Dates: 16-18 August, Escot Park, Devon. How much: Adult weekend camping ticket £120

OXFORD TRUCKS Ten years on, Oxfordshire’s Truck Festival is still pulling in the punters and hosting some of the best local and international bands. Small festivals maintaining an indie ethos are magnets for artists such as Ash; Dry the River and the fabulous Tim Minchin. See the Truck line up 2013 Dates: 19-21 July, Hill Farm, Oxfordshire How much: Weekend camping ticket, £78.15

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Punk's not Dead Sam Lawrie. Punk music is thought by many to be a thing of the past, but is that really the case? Or are we just not looking hard enough? The 1970’s was the decade that saw the rise of platform heels, flared jeans and John Travolta. It was also the year that changed the face of music forever. Artists such as The Ramones, The Clash and the Sex Pistols dominated the decade and brought with them Mohawk hairstyles, studded leather jackets and rebellion. Punk music took the charts by storm. The Sex Pistols, topped the charts with their debut album, ‘Never Mind the Bollocks, Here’s The Sex Pistols’ by reaching number one, and they were joined by other punk artists such as The Buzzcocks, whose album ‘Love Bites’, and The Clash, whose single ‘London Calling’ reached number eleven. Punk music had truly taken over. But where did it go? The 1980’s saw the fall in punk popularity and the rise in ‘techno’ pop and the age of the New Romantics, and the 1990’s churned out a huge number of pop boy bands and girl bands, such as Boyzone and The Spice Girls. As for today, artists such as Lady GaGa, One Direction and Rihanna seem to constantly reach the number one spot, all of which have about as much ‘Punk-Rock’ in them as my Grandma, which is unimpressive, to say the least. This surge of mass-produced mainstream pop has left some people questioning whether the genre of punk rock well and truly died along with Sid Viscous, but this is certainly arguable. Punk rock has continued to subtly influence many modern artists, such as P!nk, Avril Lavigne and Good Charlotte, but is practically impossible to find on its own. So, if it isn’t in the charts, where can we find punk rock nowadays?

During the 2000’s, lurking in the back streets of Camden market and topping the ‘alternative’ charts were some of the past decades’ breakthrough acts. They were the revival of the original 1970’s emergence, bringing with them new sub-genres and twists of the old-fashioned, angst-ridden punk rock genre we all know and love. Although they weren’t given much airtime on BBC radio or a top spot in the UK Top 40, they still gathered their own unique fan-bases and went on to sell thousands of copies of their albumseven though they were the far away from ever the mainstream music of today. AntiFlag, a political punk rock band from Pittsburgh, have sold over 100,000 copies of their album ‘The Terror State’; Less Than Jake and Reel Big Fish have both been successful ska punk bands for almost twenty years; Dropkick Murphy’s have released seven albums, one of which- ‘The Meanest of Times’- sold over 25,000 copies in its first week. There are also bands that manage to creep into the limelight and become household names, such as Green Day and Blink-182. Although it’s likely that the majority of the bands listed above will be completely unheard of by most young people today and are highly unlikely to ever see the glitz and glamour of topping the mainstream charts as their forefathers in the 70’s did, they are living and breathing proof that punk is not dead. It is, in fact, still very much alive, and embraced by crowds of thousands each year. Just because it is not dominating the charts as it did in the 1970’s does not mean that the genre does not continue to live on- it has simply moved on to another crowd.

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Paramore Over the years. sam lawrie.

Oh look! Paramore are rebranding. With their new self-titled album bringing out yet another side of the band, we take a moment to remember the Paramore of albums’ past… All We Know is Falling (2005)

and resumed his position as bassist. Got that? It’s a miracle they managed to get everyone in for a single photo shoot before someone else had a chance to leave!

Riot! (2007)

Ah, the first album. There’s nothing more endearing than looking back at a successful band’s very first take, and All We Know is Falling is no exception. Back in 2005, the band were just teenagers practising after school and being driven to venues by their parents. Brothers Josh and Zac Farro first conceived Paramore in 2004, with 16-year-old Hayley Williams fronting the band. The back cover of the “All We Know is Falling artwork” sees Paramore slumped on a sofa looking pretty bored- typical teenagers! It’s a world away from the edgy, glamorous photo shoots of later years, and it may have been one of the last times Paramore are seen in regular everyday clothes like plain t-shirts and baggy jeans. It’s no wonder they might’ve been feeling a bit fed up, as 2005 saw band members flying all over the place. Bassist Jeremy Davis left the band. John Hembree replaced Davis. Rhythm guitarist Jason Bynum left the band. Hunter Lamb then replaced Bynum. Hembree left the band. Davis returned

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Yet another departure (Hunter Lamb left in 2007 to get married) made room a brand new rhythm guitarist, Taylor York. Paramore took advantage of fresh blood in the band and decided to kick things up a notch in 2007. Their second album, “Riot!” certainly lived up to its title as the band just let their inhibitions go- if there was ever a perfect time to use the term kick-ass, then “Riot!” was it. The album showed that they were young, but in a different way to “All We Know is Falling; Riot!” was free, exciting, exhilarating, and a defining moment in their career as it saw them hurtling full-speed into the mainstream.

As the music was taken to the next level, it was time for the band to do the same with their look. No longer could you mistake them for any old people just wondering down the high street. Oh no.

Elegant ballads and acoustic numbers were also introduced with Brand New Eyes, showing another aspect of Paramore’s music.

Paramore (2013)

They were Paramore now, pure and simple. Hayley’s dark, plain hair turned into the chaotic bright orange and blond cut that became a staple of her style. Gone were the boys’ everyday value t-shirts, replaced by V-necks, ties and shirt suspenders to make them seem less like the boys next door and more like the boys from Paramore. This new image of fun, youthful energy was the perfect accompaniment for the sound of “Riot!”

Brand New Eyes (2009) Paramore recorded the lead single for blockbuster Twilight, which was a teen sensation all over the world and enabled Paramore to hit international fame. When Paramore came to record their third album the following year, Brand New Eyes, they knew they’d be writing for their biggest audience yet. They could by no means be the teenagers from Franklin, Tennessee anymore. They were stars, and some serious growing up was to be done before the band stood a chance of being able to deal with their newfound fame and the pressures that followed. Brand New Eyes saw the band mature considerably since their “Riot!” days. Hayley began interspersing more neutral blondes and reds in among her trademark hairstyle. Hair may seem trivial but, in the case of Paramore, Hayley’s hair could often define the entire image of the band. If she’d left the salon one day with cornrows in her hair, it’s almost inevitable that Paramore would be dubbed a hip-hop group the very next day. “Riot!” saw a punk look to go with the edgy sound of the album, but Brand New Eyes often led to a neat bun or pretty ringlets; sophistication was key, and Hayley knew this better than anyone. Delicate dresses for her and facial hair for the guys gave the impression that the band were finally ‘adults’ for their latest album.

In 2010, Paramore took a blow when founding members Josh and Zac Farro announced they were leaving the band. Their departure what somewhat bittersweet, particularly on Josh’s part, but the remaining members of Paramore vowed to continue making music. Instead of pulling their usual stunt and swiftly replacing band members before people barely had a chance to notice anything had changed, the Farro’s clearly left too big a gap to be filled and the band didn’t add any new members. Instead, they decided to continue as a three-piece and prepared for the ultimate Paramore overhaul. Their upcoming album is self-titled- are they starting from scratch all over again? The two singles we’ve heard from the album so far suggest their latest rebranding has been the biggest yet, with their sound and image being completely revamped for 2013. The latest album includes electro post-hardcore influences, and Still Into You is almost bubble-gum pop with a just hint of classic Paramore. The band has taken on a darker, more mysterious look to keep people asking “who are Paramore now?” Their recent videos and photo shoots bear little resemblance to the Hayley, Jeremy and Taylor that we’re all so familiar with. Paramore just seem that they want to leave the past behind and transform their image especially for the new album. If that’s the case, they’ve done an excellent job

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Top 10 beards in the business! Ashley Chalmers. Reviews Editor. We all know beards are associated with all things holy, and it has come to my attention that most of the stubbly stars out there today deserve their own god-like status. Rocking a beard, as well as being effortlessly cool and releasing cracking music is not a task one should take lightly. You only had


to see the likes of Ben Affleck, George Clooney and Bradley Cooper at the BAFTAS, Oscars and Grammys to see that the beard is back. Not every man in the business can pull it off, but those who can… we salute you.


Caleb Followill

Justin Vernon

The ‘Skinny Love’ singer has been rocking the chin warmer for an age now. Not following a trend, he started it! And what a magnificent beard it is…


Plan B Some describe it as a poor attempt, others may believe he doesn’t deserve to be on this list… but Plan B’s stubble gives him that hard-man edge. He doesn’t need to shave, he’s a bloke.

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Newfound family man and longtime frontman of Kings of Leon, Caleb Followill, is a friend of the fuzz.


Yannis Philippakis We don’t have your number Yannis, but definitely desire it if you keep the beard.



Serge Pizzorno Kasabian character Serge is known for his luscious locks and edgy style. Throw in the cool and carved face piece and you’re on to a winner.


Ted Dwayne The ‘Folky’ one from Mumford and Sons has got it all going on. Wowing us all with his appearance at the Grammys, rocking a full on Guesde, he has a deserved spot in the top five!



Hugh Jackman After that performance in Les Mis, he deserves to be at number 5! Loving the all action beardiness Jackman has going on, definitely a highlight of this years’ awards shows!

Dave Grohl Perfect hair to mosh with, drums like animal from the muppets… it’s only right he has a beard to go with it all! Plus he likes kinda freaky without one.

Simon Neil

Simon Neil. Simon. This beard, is one of the best beards not only in the business, but in the world. It is obvious he cherishes his chinny, who else would dye their beard as well as their barnet?! Total Beardication.


Dallas Green Canadian wonder Dallas Green of Alexisonfire and City and Colour has hit the top spot with his full-whack facial fuzz. I couldn’t imagine him without it, and let’s not lie, neither could you.

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Reviews Justin Timberlake ‘The 20/20 Experience’ Abigail brown

It is official Justin Timberlake is back and his new album is amazing. After his nearly six year hiatus from the music industry, The 20/20 Experience has some really great songs. The album has a certain romance theme to it which probably reflects on his loved-up relationship with his wife. He is also expecting to release another album this year, it is great to finally have some new songs from him and he does not disappoint. ‘Pusher love girl’ is the first song on the album and it is a great way to start it off. It is about his girl being his drug and he so high on his love drug that nothing else matters, as all he wants is her. My favourite lyrics from the song, “People call me a user, but what I want you to do, Is to go on and use me too” highlights that it doesn’t matter what other perceptions people have and to just except what the relationship as it is. The last three minutes of the 8.02 minute song are of Justin raping over hip hop beats, comparing heroin, cocaine, nicotine to the love is girl. Personally, the song was strong enough without the last part. ‘Suit & Tie’ featuring Jay-Z is a catchy tune and you can e easily find yourself dancing along to it. The upbeat track was definitely worthy of being the first song of his album to be released, although anything which is collaborated with Jay-Z is bound to be a success. The old school rhythm is what makes it so unforgettable. The third track ‘Don’t Hold the Wall’ is the least memorable. The tempo is repetitive and Timberlake sings over an Egyptian like tune which is distracting from his voice. The repetition of “Dance, don’t hold the wall” is slightly annoying. The song shows Justin’s m more playful side and unlike some of the songs on the album being about love, this is more about a single guy flirting around the club. Back to as a song about love and sex. ‘Strawberry Bubblegum’ tells the story of an intoxicating love and being so strong it’s blinding, “It’s a mystery, I don’t know why, I let you kick in my Do not disturb sign.” The lyrics are strange and the comparisons made it slightly odd. ‘Tunnel Vision’ describes love like it is in the movies. “A crowded room, anywhere, a million people around, all I see is you” This upbeat tune is one of the best on the album, I love the lyrics. The collaboration of music goes well in this track and reminds me of some of his old songs, like ‘Cry me a river’. His old music was good, but is this playing it too safe and not trying something new, then again if he knows what his fans like. The theme to this album becomes apparent after a couple of songs and it’s all about his love for his wife. The

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lyrics for ‘Spaceship Coupe’ does not make sense; he sings about going to the moon and flying far away, alienating themselves from the world. However, instrument wise this is one of the best tracks especially the guitar solo. ‘That Girl’ is quite cheesy but it works, with Justin Timberlake professing his love and not caring what people say. The collaboration with the Tennessee Kids is what makes the song good; it adds a classic old school effect


‘Mutual Friends’ Katrina quick features editor. “Mutual Friends” the title of debut album from alternative pop band “BOY” perfectly sums up the feel of this dynamic duo. The female singer/songwriter pair has managed to create a mix of friendly, easy going melodies. The relaxed rhythm and relatable lyrics are so familiar you feel as though you are among old friends. Every single in this album seems to radiate hope for the future. This can especially be seen in “Little Numbers” in which the lead singer, Valeska Steiner sings wistfully about “waiting for a release me from the longest afternoon”, whilst musician Sonja Glass does the rest. The nostalgic backing of piano and even clapping at some points gives a dreamy feel to the song, backed up by poignant lyrics such as “all the pretty things that we could be”. “This is the Beginning” speaks of endless possibilities for the future “this is the beginning of anything you want it to be”. The laid back melody joined with such human subject matter is reminiscent of Laura Marling, but the addition of an upbeat tone is similar to that of Regina Spektor. The single “Skin” is the most popular of the album, with almost four million You Tube hits. “Skin” distinctly reminds me of The Smiths single “Take Me out tonight” as it centres on the need to go out in the evening in order to try and, as BOY puts it, “get out of this skin”. Unlike Morrissey however, BOY manages to leave out the tone of complete and utter despair. “Drive Darling”, “Boris” and “Waitress” are also worth a listen. A brilliant debut album, I’m expecting great things from these fun, quirky musicians.

to it which makes it different to the other tracks. Hands down it is one of the best songs. The fast moving track ‘Let the Groove Get In’ repetitive as it is; it makes you want to dance. The funky and catchy song may not have much lyric wise but it has a lot of dance potential thanks to the African instruments. The track is just about having fun and living life to the fullest. ‘Mirrors’ has to be the best song of the whole album, Justin Timberlake recounts that he doesn’t want to lose his love and realizing that she is his other half. The romantic track is blatantly about his wife Jessica Biel, they briefly broke up in 2011 before they got engaged and then got back together. “Comin’ back into you once I figured it out, You were right here all along” The catchy track is a great love story, which tells the tale of discovering what you had all along is what you want and there is a hole in your heart without them.

Stereophonics ‘Graffitti on the Train’ elly rewcastle editor By the time a band reaches their 8th album you’d think their sound would be a bit worn, not Stereophonics though. It’s been a while since Stereophonics released something incredible. Previous release 2009’s Keep Calm and Carry On wasn’t truly on par with the best of Stereophonics’ work such as debut album Word Gets Around and 2001’s big hitter ‘Just Enough Education to Perform’. Graffiti on the Train however is a bounce back from the previous studio album that threw Stereophonics into the “we need a greatest hits album to bring us back”. Released on the bands own label, Stylus Records, the Welsh quartet, fronted by vocalist Kelly Jones, have had the perfect chance to morph this new record into something truly special. It’s a much more grown up and mature album. Although that’s an element Stereophonics have perfected, Graffiti on a Train is much more relaxed and the album manages to successfully carry itself from track to track. Opener ‘We Share The Same Sun’ is full of a relaxing blusey guitar that, although it isn’t anything spectacular, it opens up the album perfectly, making room for what’s coming next. ‘Been Caught Cheating’ is a particular favourite, full of anthemic choruses Stereophonics are famous for. There’s a display of obvious influences across the album and it’s nice to see that although they stick to the same sound, that Stereophonics are fine tuning their own sound with a little bit of help from others along the way. The very Muse-like ‘Roll the Dice’ and beautifully constructed ‘Violins and Tambourines’ remind us of why Stereophonics have six ‘top ten’ albums, a huge fan base and one hell of a musical career.

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Reviews Bon Jovi

‘What about now’ sam lawrie Bon Jovi were the kings of powerful choruses and almighty guitar riffs in their heyday. Sadly, that title may be slipping away from them with their latest album, What About Now. The album opens with a catchy pop-rock track in the form of ‘Because We Can’, and it’s an optimistic start. The rhythmic beat and sing-a-long choruses are uplifting and invigorating, and they prove straight away that the band haven’t lost their ability to write potential anthems. It’s reminiscent of the feel-good 1980’s classic rock that Bon Jovi are so strongly associated with, and it puts an inevitable smile on your face. However, that smile soon fades away and is replaced with twiddling thumbs when the realisation hits that several other songs on the album, such as ‘That’s What The Water Made Me’ and title track ‘What About Now’, are equally as uplifting and invigorating. It wears pretty thin after a couple of songs. These seemingly catchy tracks begin to blend into one alltoo-similar sound, and feel-good soon turns to feeling bored. By the time the fourth track ‘Pictures Of You’ kicks in, it’s easy to lose interest, and only the awesome guitar solo redeems it. A Bon Jovi album wouldn’t be complete without a true love song, and ‘Thick As Thieves’ fills that gap. It may not be the most breath-taking love song in the world- tears weren’t exactly streaming down my face after five minutes, put it that way- but the heartfelt sentiment behind it gives the song real depth and makes it a ballad to be proud of. It is definitely the staple love song of the album and, in turn, eradicates the need for more tedious examples such as ‘Room At The End Of The World’ and ‘I’m With You’, which simply can’t compete with the strength of other songs. ‘The Fighter’ and ‘Amen’ do have a similarly slow vibe but are both acoustic tracks, and the more elegant sound of the acoustic guitar is a breath of fresh air for the album. The beautiful simplicity of these songs just go to show that Bon Jovi are not all about punching your fists into the sky and playing air guitar along with the band; they can just sit back and play the song, and it still works for them. The fact that ‘The Fighter’ does have a lighter, more relaxed sound also provides the album with a pleasant finishing touch. The acoustic style is not the only differentiation on What About Now as the band do try and experiment with a few other styles. ‘I’m With You’ has an almost boyband feel to it, while ‘What’s Left Of Me’ is given a country twist and ‘Army Of One’ could almost see Bon Jovi passing as a modern rock band. These influences, although interesting, are not strong enough for these songs to stand alone as something new and exciting; they are the same classic rock songs with subtle variations. Will anything ever rival the classic rock anthem that is ‘Livin’ On A Prayer’? Probably not, although there are a few tracks on What About Now that give it a bloody good go. However, the disappointing truth is that the album is just too bland and likely to leave even the biggest of Bon Jovi fans with a feeling of monotony once the final song plays out.

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‘Afraid of Heights’ Jack Mckeever. introducing editor The problem with the ‘90s slacker revivalist movement is that most of the bands who endorse in such fail to emulate the sound effectively. On his new album with his San Diego band Wavves, “Afraid of Heights”, Nathan Williams influences are still very much those that he grew up listening to, but this is a refreshingly urgent and memorable (and for the first time properly meaningful) spin on the sound that culminates from said influences. Wavves’ sound is magnified and diversified on “Afraid of Heights”, pleasingly no longer captured in the hazy, weed smokefilled fuzz of 2010’s slacker- surfer blogosphere darling “King Of the Beach.” “Lunge Forward” and “Gimme a Knife” are both snarling punky rambles akin to pre- 2000 Greenday, whilst the title track trawls along as a Weezer- esque slacker before ending on a psychedelic concoction comprising of both acoustic guitars and bubbling electronics. For the first time Williams’ sounds vulnerable, and even unhappy on some of these tracks. “I’ll always be on my own, fucked and alone” he decides on the title track. “Afraid of Heights” is both tuneful and eloquent, a trick which many of his peers have failed to grasp.


‘Utopia’ Priding herself on her unique “BubbleGoth” genre, Kerli is known to be quite extra ordinary. Her previous tracks such as Tea Party and Walking on Air are a mixture of fairytale and emo. If that’s even possible. So Katie pathiaki. assistant editor expectations for new album Utopia were nothing less than best. However, each passing song delivers disappointment. It seems that Kerli has lost herself to the mainstream music of today. Sounding like a mixture of different artists, she fails to deliver anything new or exciting with this album. Lucky Ones sounds just like Ke$ha’s We are Young and Cant Control is uncanny to classic song Rapture by Nadi Ali. At points during the album Kerli sounds like Marina and the Diamonds with beats stolen from various club songs. These songs have already been made, they don’t need to be sung again, Kerli. The only song worth listening to on the album is the last track, if you can make it that far through the album. Chemical is a piano accompanied solo track with beautiful lyrics. It’s also the only song actually written by Kerli. Maybe if she took lyrical matters into her own hands for the rest of the album then she wouldn’t had to have copied everyone else.

The Strokes.

‘Writing In Progress’

ashley chalmers. reviews editor. Award winning New York rockers The Strokes are hitting it big with their eagerly anticipated fifth album Comedown Machine. The Strokes crashed their way into our hearts with their gritty, underground-New-York sound with their first album Is This It in 2001. Although a lot of us were probably a bit too young to remember that far back, (I was seven…) the album still remains a classic to this very day. It has been a staple in our eclectic music diets – the right choice for a healthy appreciation of good music. And their latest does not disappoint. Frontman, Julian Casablancas’ vocals are on form and are a key element in the band’s transformation from the young, moody indie rockers that made it twelve years ago into experimental pioneers of today’s indie scene. His vocal range is astonishing, and beautifully showcased in ‘Call It Fate Call It Karma’, where he dips in and out of falsetto like it is nobody’s business. The influences that are intertwined into their original sound are drawn from all points on the vast, glimmering spectrum of musical genre. Dredging back synths from the 80’s is evident throughout the album – particularly in tracks such as opening track ‘Tap Out’ and ‘One Way Trigger’, which if you ask me has a very A-Ha feel to it. ‘One Way Trigger’ is quite the statement piece, and is a song with many elements that shouldn’t work well together but really do. It is frantic and experimental, with a guitar solo that would make Brian May proud. However, the effortlessly cool vocals and busy style make it identifiable as a Strokes track, which is of course of paramount importance to the fans. The Strokes have quite obviously taken risks with this record, and has many of their fans up in arms about what to expect. Some who prefer the original feel of their older music are not quite as excited about the shifts and movements that The Strokes are making with the album. However, it appears to have a little something for everyone. Their newly released track ‘All the Time’ is quite typical to their style, with the signature gritty vocals and energetic chorus. But skip a few more tracks in, and you’ll find ‘80s Comedown Machine’. Hazy, deep and dark – it breaks up the album and gives you a moment to stop and breathe. Having four upbeat songs to

introduce you to the record, this trippy tune creeps in at the perfect time. Casablancas sings it softly and slowly to perfectly compliment the tempo and heavy texture of the backing track. The sombre chorus of distorted guitar and ghoulish vocals is the perfect contrast to the verses and really emulate the art-form quality of this album. Then it’s back to their vivacious selves, as they pick up the pace with the next few tracks. ‘Partners In Crime’ has a certain get-up-andgo to it, with the additional synths that dot exuberance throughout the chorus, adding an edgy and catchy element. Toes tap along to this song, and is a great one for when you’re on the move. The interesting thing about this album is that, quite obviously, drugs are a running theme throughout it, and the record takes you on a journey of highs and lows. Not lows in a sense that it’s a bad record, but it’s as though it slows you down to give you a moment to reflect in serenity. I feel that if a song or record is trying to portray a certain emotion or state of mind, the technical elements of the song should make you feel that way. If it is about drugs, it should take you on a musical trip; push you into euphoria and drag you into a comedown and I think The Strokes have fulfilled this concept perfectly with this album. The final track ‘Call It Fate Call It Karma’ is SO chill, with it’s Jazz Noir feel that sends you into a dream of art deco, dusky rivieras and continental cigarettes. Casablancas takes form of the late Minnie Ripperton with his angelic vocals and the track overall is out of this world. The Strokes have taken a new artistic direction with Comedown Machine and it is definitely an album full of intrigue – well worth checking out!

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‘Bad Blood’

The beauty of Bastille is that they’re so well known, and unknown at the same time. Mainstream, but indie too. Bastille are one of those bands that appear from nowhere and instantly make themselves katie pathiaki. part of your daily assistant editor soundtrack. The quartet’s debut album “Bad Blood” is so polished, it sounds like the band has been making music for years. Track one, Pompeii went straight into the charts at number 2. The song initially sounds like it’s written about the disaster in Pompeii; “Great clouds roll over the hills, Bringing darkness from above” however, the lyrics apply to the lifestyle we all lead. “Oh where do we begin? The rubble or our sins?” What do we start with first? With the mess around us or our own troubles? This song holds more than a catchy chorus and upbeat backing track; it shows the lyrical beauty that Bastille incorporate within each of their songs. Things we Lost in the Fire begins with lead singer, Dan Smith, serenading the audience over a slow piano sequence. The tempo soon rises as the first verse begins; however, quite like in Pompeii the lyrics stay very dark. “I was the match and you were the rock, maybe we started this fire,”

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A reoccurring theme within Bastille’s songs is of broken hearts and lost loves. Album title, Bad Blood, is a perfect example of this, with Smith begging someone to “let it dry” throughout every chorus, it reflects the aftermath of a bad relationship. “It’s been over for years, won’t you let it lie?” resounds through each chorus, making it impossible to shake the feeling of his anxious despair. Their first release in April 2012, Overjoyed, didn’t make a chip on the charts, and Bastille remained unknown until 2013.But, listening to this beautiful song, it’s incredible that they remained under the radar for so long. Similarly to Things we Lost in the Fire this track starts with a soft piano. However, Overjoyed can only be described as a dub step track in its lightest form. Juxtaposing the lyrics filled to the brim of death and deep meaning, the sound of piano mixed with bass would normally be a recipe for disaster, but Bastille pull it off, creating a touching track. The word “flaws” appears in many of Bastille’s songs. Track 5 These Streets exclaims the line “with our mistakes and flaws.” Suggesting that Dan has some issues with self-confidence, the rest of the song repeats “I won’t show my face here anymore” which leads the audience to believe that something terrible happened to knock his confidence on “these streets”. The general tone of the song though is upbeat and catchy like all of Bastille’s music, with a mixture of synths and guitar, and Smith’s pitch perfect vocals. The weight of Living Part 2 , engulfed by synths and echoes of Smith’s vocals, the track seems to be of a different genre to the rest of the album. The lyrics, revolving around children begging to be older, seem to blend right into the next track Icarus which ultimately is about the bad side to the popular culture of teenager’s today. They grow up too fast and start to do crazy

things beyond their age. “Living beyond your years, acting out all their fears, You feel it in your chest” Oblivion is the only song on the album without any electronics. The track is guided by a slow piano, and Smith’s beautiful low and high pitch mixture. With only a piano and solo singer to focus on, the lyrics are so distinct, so crisp, that their meaning creates a sullen atmosphere; “When oblivion is calling out your name, you always take it further than I ever can” The song seems almost too short, too abrupt an ending, that it leaves you hanging on the edge before Flaws picks you up with its fun synth intro. Flaws is one of the popular hits from the band, a radio friendly upbeat track to sing along to. Though the self-conscious persona is described very clearly within the chorus “There’s a hole in my soul, I can’t fill it I can’t fill it” but unlike any of the other tracks mentioning Smith’s insecurities, Flaws draws the audience closer to the singer when he asks “Can you fill it? Can you fill it?” Heavily religious, Daniel in the Den may not be everyone’s cup of tea. The song lyrics are beautiful “And felled in the night by the ones you think you love” and could be applied to an atheist lifestyle also.

Black nevada

‘Rising Evolution EP’ Jenna Young, Lives editor.

Unbelievably, Laura Palmer is based on a television series, Twin Peaks. The mystery of who killed Laura Palmer was a big storyline within the beginning of the show, and the song reflects that. “Found yourself a path upon the ground, you ran into the night; you can’t be found”. This song seems to be the only downfall for Bastille however. With a repetitive chorus, and vacant verses, the track seems quite empty, almost like a filler for the album. Bastille seem to be quite against using audio effects, as Dan demonstrates his amazing vocal chords without the help of any auto tune. This is until the last track, Get Home. At first it comes as a surprise to hear auto tune being used throughout the background of the song, but it works well with the sentiment of the track. About depression, and feeling lost, the auto-tuning acts as another person, an unrecognisable voice in the back of our minds. This album is a masterpiece, a remarkable first debut. Every song acts as a genre change, every lyric so deep and meaningful. Everyone can find something within Bastille to love, whatever music they normally enjoy listening to. This album can only mean big things are in store for 2013’s biggest band so far. Bastille are here to stay.

David Bowie ‘The next day’

Jack Mckeever. introducing editor

Black Nevada, an alternative four-piece band from the north-east of England, recently released their EP Rising Evolution. From the opening bars of the first track ‘F E W’ it’s clear that the quartet know what they are doing with their instruments. The guitars and bass work well together forming a catchy guitar riff while the drum rhythms are complex enough to display the drummers skill but still fit well in the context of the song. The vocals are tuneful, but have a rough quality, just enough to make them perfectly suited to the rock genre. Influences from other bands in the scene can be heard, particularly in ‘Losing Patience’. The slightly muted guitar strums in the opening are reminiscent of recent Foo Fighters tracks, while the catchy ‘woah-oh’ refrain sounds suspiciously like the opening of ‘Gossip’ by You Me At Six, which is unsurprising given that the foursome began life as a cover band. While all of the songs can be classed as alternative, each song has its own distinct sound, which will keep you interested. Songs like ‘Losing Patience’ and ‘Failure At Best’ could be classed as ‘pop punk’, but the later is followed by ‘Game Face’ and an introduction fuelled by bass, giving the song a darker feel. Rising Evolution is a great listen for anyone who likes alternative rock, and based purely on this EP, I personally will be looking forward to hearing more from Black Nevada.

He is back! He is back! He is back! He is back! “Here I am, not quite dying” churls David Bowie with all the conviction in the world on the opening title track to his 25th studio album, his first in 10 years. That being the sentiment that carries “The Next Day” for its entire duration, and it’s a sentiment that rings true effervescently and almost impeccably throughout. More rock orientated than spectral, slow burning lead single “Where are we now?” had previously suggested, it’s full to the brim with attitude and style that recalls Bowie in his late ‘70s- mid ‘80s heyday. “The Next Day” is a stirringly groovy, reverberating rocker, whilst the brass inflected crawl of “Dirty Boys” swings with sleazy swagger. The Suede- esque lead guitar part and vocal harmonies on “Valentine’s Day” are heart- wrenchingly beautiful, and the utterly gorgeous “Dancing Out in Space” is just as epic, cosmic and upbeat as you would expect a song of that title to be. Bowie barely stops for breath on “The Next Day.” This is 10 years’ worth of rocking and exuberance, all very much proving that Bowie is more than a few years away from death.

Lil Wayne

‘I’m Not A Human Being Part 2’ The same old Lil Wayne. Rapping about drugs, sex, alcohol and money. For 17 tracks. There’s nothing new here. Katie Pathiaki. Assistant Editor.

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Reviews Photo credit: alvin carrillo

The Story So Far 'What You Don't See' Jack Mckeever. introducing editor

The young California pop- punk crew bring full hearts and large tunes on their sophomore fulllength I love giving things I don’t like a good kicking. When our editor Elly asked me to review the new album by The Story So Far, I’d never heard the band. I googled them, and on doing so discovered that they were a California pop- punk band. “Oh great”, I thought. “Another generic, summery poppunk band, probably devoid of substance and conviction, trying to fill the slot that Fall Out Boy abandoned after 2006.” How wrong I was. “What You Don’t See” is good. Very good in fact. More often than not, it rings with conviction and self- belief, rendering the band many pieces away from the contrived, anthem reaching antics of many other bands who journalists are likely to label comparable bedfellows to The Story So Far. It would fit most comfortably in a music collection somewhere between Polar bear Club and All Time Low’s less poppy early trajectory, with maybe At The DriveIn’s “In/ Casino/ Out” sitting nearby. More times than not, it’s truly thrilling. In opener “Things I Can’t Change”, a soaring, sun- drenched lead guitar line resounds against the hard hitting, fulfilling instrumentation. It’s a

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song that will demand repeated listens, if only for the sheer self- belief of it all. “Stifled” follows the similar format (as does much of the rest of the album) of laying down a beefy rhythm section behind a sky- kissing lead line, whilst the punky oeuvre of “Right Here” contains that ingredient so many pop- punk bands find themselves falling short for, real emotion, as the vocalist yells “The mind that you broke and the price that it cost me.” Things become slowed down on “Empty Space” but there’s still for plenty of ambidextrous riffing to be incorporated. There are two traps that The Story So far don’t quite manage to avoid however. “Small Talk” is just about as cheesy as it possibly could be with its main refrain of “Breaking into me, tell me how you think it’s gonna be.” They also don’t quite escape the slight inevitability of becoming generic towards the end of “What You Don’t See”, but the strength with which they play their songs redeems them somewhat. A handful of tracks here are bonafide bangers, which should see The Story So far embraced at the heavier end of the spectrum, as though they are the band Fall Out Boy could still be had they not abandoned the most punkorientated elements of their music long ago. Fists aloft! This is (mostly) how Pop- punk should be done.

Undertone. Brought to you by:

Elly Rewcastle Katie Pathiaki Katrina Quick Editor assistant editor Features Editor

Ashley chalmers

Jack Mckeever

Emily Reason

Reviews editor

Introducing editor

Assistant Inroducing Editor

Kayla elliott Jenna Young photographer Lives Editor

Megan Hunt Designer

See you in april! (OK, We know we said that Undertone would be a twomonthly webzine, and we are aware that the last issue said “see you in April” but after many meetings, numerous cups of coffee and an uncountable amount of biscuits, we decideded to make Undertone a monthly webzine! Now you won't have to wait too long for your music fix. Aren’t we nice?)

Undertone Issue 2  

A musiczine dedicated to bringing all different genres to you every month

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