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EDGE Editorial

Features Editor Will Whitby Art Director Joe Blogs Production Editor Heather Small Reviews Editor Barry White Content Editor Susan Bonds Photo Editor Ron Potter Editor At Large Jim Wang Cheif Sub-Editor Hugh Jass Assitant Sub-Editor Max Power Layout Designer Jackie Smith Contributor Editor Ruth Wilkinson Contributors Chris Jones, Amanda Hughes, John Marley, Christopher Wilson, Mark Moore, Robin Dansanly, Abdul Hassim, Ainslie Harriot, Glen Bushell, Abi Mould, Nina Riley, Alan Arrowsmith, Xi Pho. Photographers Mike Bushell, Katy Stevenson, Beth Watson, Libby McKenzie, Molly Buddle, Caspar Alfonsen, Mohammad Al-Habsi. For advertising please contact the Edge marketing and advertising team on: Marketing@ For legal inquiries please contact our legal team Legalteam@ Support your local scene

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5 trash boat: “we’re just riding a wave man”

7 NEWS 3-4

K C A B H F L A S unravels

EDGE the o t t s the pa ays of d early ester h c n a the M scene Punk


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AND FTH ALBUM I F E C N U O NGERS ANN THE MENZI OLICS’ ‘BAD CATH E L ted G N I S erly awai NEW their eag rrives

album a release ty’. The ers will r g a n P i z e n h e t M The ed band’s After lphia-bas -length ‘ e l d l a u l f i h h P t f fi o the llow-up t rld’. as the fo Rented Wo ‘ d e m i a l c nd c a widely of way, a wdy kind o r in a e n n o i y ever iving eems like our 20s l s t s t n y i e a p s e s r ” e e , “W t wh tions at a poin ent direc . now we’re in differ g he Party’ n t i v r o e m is nd ‘Aft i h e b n our lives o i t e inspira May of th After the ease of ‘ l e r e h t rty’ will follows er The Pa ’ t s f c A i ‘ l . o ’ h s t ooker re-order ‘Bad Ca single ‘L various p d d a n e a l 7 s 1 ’ 0 ’ Party ry 3rd 2 ed Febura ine. be releas lable onl eady avai r l a e r a bundles


Blink-182 , Linkin Park and have been System Of announced ADown for Downl oad Paris . They’ll b e joined by Prophe featuring ts Of Rag members o e, f Rage Ag Machine, ainst The Cypress H ill and P ublic Ene my. More acts are to be announced Download UK line u and the p is expe in early cted for November. release

DESCENDENTS ANNOUNCE THEIR OWN BEER Descendents have released a beer. “Feel This” beer is made by Mikkeller Brewery and it is a 7.3 % coffee IPA that was brewed with Dark Matter Hypercaffium Spazzinate coffee beans. Of course it is named after the song “Feel This” from the band’s latest album Hypercaffium Spazzinate, which was released via Epitaph Records in 2016. The beer will be available to taste at the San Diego Beer Week, which will be on November 4, 2016.

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SINGER WANTED FOR NEW SUMERIAN RECORDS BAND Sumerian Records - home to the likes of Asking Alexandria, From First To Last, Stray From The Path and so many more - are looking for a vocalist to join their newest band. The rest of the band consists of members of other Sumerian-signed bands, but they’re still on the hunt for a singer. Sumerian have uploaded audio of a song to YouTube, and are inviting singers (but not screamers) to lay their vocals over


The first batch of bands for Manchester Punk Festival 2017 have been released. US hard-core punk veterans Paint It Black and Strike Anywhere front the bill in the latest round of announcements with Beldevere, The Toasters and Martha amongst the other 70 bands performing over the weekend. Manchester Punk Festival organiser, Ian Robinson, said “2016 couldn’t have gone any better for us and we’ve got a great mix of bands for 2017 and it’s going to be insane!” The weekend takes place across Manchester venues on April 22nd-25th 2017. Growing on the success of 2016, Gorilla, has been added to the list of venues involved with Sound Control, Zoo, Retro Bar, Zombie Shack and Underdog playing hosts to shows over the weekend as well. The festival is all voluntarily ran and is one of the few none profit festivals in the UK. It is a “labour of love” Robinson told Edge saying “it is a celebration of punk music from all eras and all corners of the world.” With the small team of only six people organising the weekend, work began on the 2017 event mere weeks after the 2016 had finished. However, all the work is worth it, Robinson, continued to say: “One of the most pleasing parts of MPF is bringing

our favourite bands from all over the world and showing them how we do it in Manchester.” 2017 promises to showcase acts from Spain, Italy, America, Canada, Finland, Denmark and a host of strong British talent filling the bill too. Manchester Punk Festival is a culmination of hard work from people across the country devoting time to making their hometown scene stronger. “The UK punk scene is stronger than ever” Robinson added. The strong DIY mantra that the festival upholds is one of the catalysts to its success. Robinson himself is a strong advocate for this belief saying: “You don’t need a huge budget or a team of marketing experts to put on a good event or be in a worthwhile band. It’s not all about a pay day, there are measures of success other than chart positions. “In Manchester specifically, the punk scene has always been good but it seems to just keep growing. It’s a pleasure to be a part of it to be honest and is something we’ve all worked towards for a long time” Robinson finally and profoundly added. Tickets are selling fast for next year’s event and fans are urged to order their tickets soon as to not avoid disappointment.







The Filaments play sound control during MPF 2016.

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just riding the wave” Trash “W e’re Boat front man, Tobi Duncan,

pardoned the pun as he tucked into a Graze box whilst talking to Edge before their sold out Liverpool show. It’s becoming apparent that the UK pop punk scene is entering yet another golden age and the St Albans band are right in the mix. Their lengthy-titled debut album ‘Nothing I Write You Can Change What You’ve Been Through’ was released earlier this summer to immensely positive reviews. Rocksound gave the album a fivestar rating declaring it an “intricate and

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How unfortunate circumstances inspired one of the best releases of 2016 and what it feels like to be right at the front of the UK pop punk

exceptional coming of age.” The album was celebrated for its refreshing pop punk sound with its twangs of hard-core, complete with emotive and brutally honest lyrics – as well as massive choruses. “It’s hard to critique your own work because there are always aspects that you’re not going to like. I definitely like it though. We did something right; people are really digging it” says Duncan regarding upon their debut full-length. Some music fans criticize pop punk for the various clichés attached to the genre; whiney vocals, the same guitar sounds/sequences for 12 tracks, and every front man thinking he is Tom DeLonge. Actual fans of the genre know this isn’t the case, and Trash Boat’s debut is an impeccable piece of work to silence the critics. Trash Boat avoided these clichés as the process came naturally for Duncan: “There

are certain tropes in pop punk around writing about relationships and stuff, and it is not like I actively avoided that, it was just what flowed best for me. I did me and we did us.” “In terms of ideas, I can go a month without having anything and in a day I’ll write three songs. I do most of my writing while driving and before I go to bed. I can lie there for weeks with nothing and one night stay up all night writing.” The final track on the album ‘You Know, You Know, You Know’ is a particular example of the front man’s expertise, and begins with unfortunate circumstances. A close family friend of Duncan and his mother took his own life earlier in the year, and the song starts with the reading of the first paragraph of the note he left for Duncan’s mother. “He was an avid musician and he knew I wanted to be a musician whilst I was

growing up. Quite often I would talk to him about music” Duncan wistfully recounted. “The first time I got my drum kit he was there to teach me. He was always a part of my life and he was always there to support all the musical stuff because that got him excited” Duncan didn’t struggle to open up to Edge about his struggle and smiled as he reminisced. “When he died I was trying to walk a really fine line between appropriating his death for the purposes of writing a song, and just writing him a song. At the end of the day, it didn’t take much thinking as my heart and my head were in the right the place. I like to think he would have loved it.” The song is one of the major standout tracks of the record as it showcases a respectable homage to a good man, and offers hope to those in need. Life can be shit, but there is always help out there. Few acts can create a track with such personal links and do it in such a respectable and mature mannerespecially on their debut album. It’s a quality that Trash Boat are proud of having with the ability to have the sensitivity to write a song so personal and still pull it off as both a good song and a good memorial


rash Boat signed to Hopeless Records in 2015 and released their sophomore EP, ‘Brainwork’ in May 2015. “Word spread quickly that we wanted to write an album and Hopeless were really positive and got right behind us. We were told that Soupy [Dan Campbell- lead singer of The Wonder Years] wanted to produce an album and step back from performing” he said with a grin ear to ear. “It all came together at the write time and it blew us all away! We were on cloud nine!” The initial work was mainly conversed over Facebook, Duncan continued: “We’d send him a riff if we were stuck he’d

offer help and opinion. He would help with lyrics, too, saying “yeah it is good but maybe if you changed the syllables here and moved to G chord,” stuff like that. The week before we moved into the studio he came over from the US and stayed with us and work commenced.” Being the front man of one of pop punk’s biggest bands, as well as leading a critically acclaimed solo project, Campbell offered a multitude of experience to the young band. “He was really good to work with. I was just trying to absorb as much experience as possible. He’s done everything and it was so incredible. My voice is still learning and on its way. I would record a vocal track and listen back and it wouldn’t sound

we were arguing a lot, but it really helped to shape the vibe because we’d have to compromise and please everyone.” A self-confessed fan of heavier and hard-core bands such as Turnstile, Duncan tells us about how he was partly tempted to create a sweaty pit anthem record. “I wanted to write a kind of old Title Fight / H20 thing. That would have been great, but I feel that if I was allowed just to run away with it, it wouldn’t come out the way I wanted and what has come out is the best.” The short tour ahead follows a summer of firsts for the St Albans lads, from a first album release to their first sold out shows. The sold out Liverpool show was the first show they wanted to play after missing it on their album release tour with WSTR and Weatherstate, and the faithful were lively as ever. Having played to larger crowds at 2000 Trees, Slam Dunk and the massive Reading and Leeds festivals, Duncan felt much more at home at the quaint Studio 2 venue. “I’m always going to be a fan of the smaller, sweaty shows because that’s where I went to gigs and had the best time. “Being on the road is where I feel most comfortable. It’s where I feel I have purpose. I like being at home and it does sometimes suck being away from home

We're just riding a wave great or it was a bit flat, and he would step up and nail it all in one take. He was really helpful and really enthusiastic so it was great.” Campbell was announced as a producer when the opening track ‘Strangers’ was unveiled, which he made a guest appearance on.  “The largest influence he had was on ‘The Guise Of A Mother’ because in the chorus he wrote the chord sequence, as we originally had it in a minor key. He suggested we drop to a major and I changed his lyrics a bit but the vocal line in the chorus was his idea. We didn’t like it at first but it grew on us. Aside from his part in ‘Strangers’, that was the only part he fully wrote, the rest was shaped by his opinions on our music.” The stellar debut was applauded on its release for its variation of sounds and style throughout the album; classic pop punk riffs in ‘Tring Quarry’, the heavier hard-core sections in ‘How Selfish I Seem’, and massive choruses in ‘Catharsis’ and ‘The Guise Of A Mother’ demonstrate what UK pop punk is best at today. “All of that came from arguments,” Duncan explained. “When you’re in bands there are two types of people; the kind that just want to play and have fun and the people that have a direction and vision. A few of us would butt heads and at first, I was a bit disillusioned because

but this is what I want to do and I’m loving it” Duncan further confessed. “Summer flew by but I guess it was a good sign, and a testament as to how much fun we were having. Everything is going really really well. Circumstances are definitely with us and we’re working our arses off. I’m not going to complain.” You could feel the optimism in the stale air of the tour van as Edge’s time with the enigmatic frontman came to an end. Duncan shot off into the venue only to be stopped by a queue of fans wanting to take a photo. He obliged and spoke with them for so long his angry tour manager had to come out to call him in. The band are ready for the big time but it is refreshing to see that they still have time to please everyone along the way.

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Top: The Sex Pistols legendary Lesser Free Trade Hall show in Manchester- June 4th 1976. Many notable Manchester musicians were in the crowd including members of Buzzcocks, Joy Division and Morrissey Left: Buzzcocks bassist, Steve Diggle, drunkenly being carried out of Ranch Bar Right: Buzzcocks singer, Peter Shelle, shows off his sawn off guitar

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WHERE IT ALL BEGAN 40 years have passed since the Sex Pistols played A legendary show at the Lesser Free Trade Hall in 1976. Photographer, Kevin Cummins’ anthology captures life in Manchester at the birth of a musical revolution. Top left: Teddy boys outside, The Factory, enjoying some cigarettes Top right: Punk band, The Worst, during a photoshoot in an abandoned building Bottom: Legendary Manchester group, Joy Division perform. This photo in question was taken not too long before frontman, Ian Curtis, took his own life.

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Top: A city centre dirilect slum getting torn down during the impoverished 70s. The industrial decline & economic sturggle hit Manchester hard Below: Manchester band, The Fall, walk up an abandoned street in Rochdale towards a show at the top of the hill.

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his is f*cking ace” Moose Blood frontman, Eddie Brewerton, exclaimed over a sold out crowd at Manchester Academy 2 who were hanging on his every word. The British emo rock foursome released their second album ‘Blush’ this summer via Hopeless Records- their first release after separating from No Sleep the year before. With vastly positive reviews it cemented them as more than just a “one album” band with ‘Blush’ dismissing the difficult second album step with ease. Essentially a follow up to their debut and already cult classic ‘I’ll Keep You In Mind From Time To Time’ the sophomore effort offered a bigger sound, but still with the gritty and honest lyricism that attracts the masses to, Moose Blood. Support came from fresh faced pop punkers, Boston Manor, with their debut album ‘Be Nothing’ released the week before. The Blackpool lads brought in a very large and energetic crowd- quite impressive considering they were second support. Things got mellow as US dreamy rockers, Turnover, played tracks largely from their critically acclaimed second album ‘Peripheral Vision’. The twinkly guitar melodies played were a stark contrast to the sharp and brutal lyrics sang by both frontman, Austin Getz, as well as the enthralled crowd. The classic pre-headline band buzz passed over the crowd and then with a flash of dark the opening chords of ‘Pastel’ waved over the sold out show. The

track is also the opener to ‘Blush’ and it gave the perfect balance of groove in verses and infectious choruses to erupt the crowd. The mosh pit that emerged from the get-go lasted until the last chords of the final song. The band have matured massively in the past two years and a key moment came during ‘Spring’- a song about the band losing a friend to suicide. The silhouettes of the band passed through the smoke to a crowd glowing with phone torches and lighters. The tender moment was testament to emo’s ability to provide solace even during deeply distressing times. Although some Moose Blood’s songs are bitter and full of heartbreak, Brewerton, remains a dedicated family man. Previously stating that his family keeps him going when times are tough he dedicated love song ‘Cherry’ to his wife who was in the crowd. But life isn’t always hard and Moose Blood’s more positive songs are the hooks that initially bring in the fans. The radiant choruses of ‘Glow’, the singalong pleasers of ‘Gum’ and ‘Honey’ and the final song ‘Knuckles’ left a grin on everyone present. Moose Blood have always been well known in the scene for their exquisite and energetic live shows. However, there was a buzz around after tonight’s show that suggests Moose Blood are snowballing into the band that will finally break emo back into the mainstream. They’ve gone from playing shows in 300 capacity venues to a full nationwide sold


@WillWhitby out tour in little over a year- a feat that few bands can accomplish. Emo as a genre has been ridiculed for its novelty and nostalgia by those making jibes at its foibles of embarrassing fashion and whiny songs. Moose Blood are reinventing the genre to change emo back to a dedicated art form to help those in troubled times- and by tonight’s performance they’re doing a good job at it too.

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s m u b l a



hen news broke that emopioneers, American Football, were to release a second album 17 years after their heavily influential debut, few could believe it. The band released their self-titled debut in 1999 and since then it has become a cult favourite amongst its fans. Although it wasn’t a massive commercial success its articulated post math-rock sound has given it massive critical acclaim. Its influence has touched artists from Balance & Composure to Into It Over It and Biffy Clyro- all with only 12 tracks to their name. The meticulous, twinkling of guitars across the album created an almost dream-like atmosphere in an otherwise dreary late 90s world. However little more than a year after its release the group went their separate ways to explore their own creative projects. Having reformed in 2014 and now being together longer than they were originally, the Illinois group released their second album (once again titled) “American Football” via Polyvinyl on October 21st. With the original held in such high regard many fans expressed their initial joy and concern when the sophomore record was announced- what if it didn’t

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live up to expectations? First track ‘Where Are We Now?’ picks up right where the debut left off. An almost nostalgic fade in of twinkling guitars eases the worries of the critics almost instantly. The opener reflects upon how situations in relationships can stay stagnant and damage the people involved. With a subdued tone he narrates that sometimes leaving something to not cause an argument can cause more heartbreak. The 17 years away from the group gave time for the group to act on their own creative projects. Frontman and guitarist, Mike Kinsella, focused on his solo project ‘Owen’ which produced ten albums. His brother and drummer, Nate, also played in 15 bands during his time away. This time away matured the band both as musicians but also as people and these life lessons have been interweaved throughout the new release as the band was reunited with songs touching on depression, family love and isolation. he first taste we had of the new material was “I’ve Been So Lost For So Long” which was released when the album was announced in September. The simple intro to a crescendo and


proud ending intertwines the guitar lines with the percussion which further complements the vocals. Kinsella creates an almost drunk and woozy rhythm to track 7 ‘I Need A Drink’ while spreading an acoustic and dainty melody in ‘Home Is Where The Haunt Is.’ Labeled under a genre whimsically nicknamed “twinkle-core”, American Football take influences from emo and post-rock for the despairing lyrics but contrast it with the positive flowing guitar licks from math-rock. The greatest change comes with ‘Desire Gets In The Way’ with an almost country feel to the track. The fuller sound allows, Kinsella, to strain his voice to show a side to his voice listeners have never heard before. The fans expecting a carbon copy of the will be disappointed but for those longing to hear the continuation of an iconic album with be immensely pleased. No cliches, no avant-garde production methods or major change in sound. American Football’s second album allows people to remember why they fell in love with the band in the first place. Although they had been gone for 17 years, it seems American Football never really went anywhere. They merely grew up.




Returning for album nine, turn-of-thecentury emo legends, Jimmy Eat World, return with their most diverse album yet. Exploring new sounds with drum programs on “Pass The Baby”, deep pulsing basses on “Pretty Grids” and sombre strings on the title track showcase Jimmy Eat World at their most adventurous. Elsewhere, the guitar reminds us of those nostalgic guitar twinklings of the late 90s — only Jimmy Eat World figured out how to hammer those romantic tales of woe into epic anthems. “You Are Free” continues this tradition, while “Sure and Certain” and “Get Right” offer classic Jimmy rockers, both worthy additions to the band’s catalogue.

“This song is a mess, but so am I” sings Joyce Manor’s Barry Johnson on the closing line of ‘Cody’. That may have been true of the Californians’ chaotic emo-punk debut, but it’s actually a far cry from this latest album’s ambitious leanings. Expanding on 2014’s more mature ‘Never Hungover Again’ this fourth full-length is packed with heart-on-sleeve anecdotes, ranging from playfully upbeat (‘Fake I.D.’) and Weezer-esque (‘Last You Heard Of Me’) to dark and painfully honest (‘Do You Really Want To Get Better’). A brief but superb collection, this cements them as one of the most compelling acts in their genre.

Balance And Composure’s third album is less a collection of songs than a constant, icecold shiver down the back of your neck. Eschewing their hard-edged, rockier side, the Pennsylvania five-piece have cultivated 40-plus minutes of intense but dreamy atmosphere on ‘Light We Made’. Moody, sinister and understated, the likes of ‘Spinning’, ‘For A Walk’ and the insistent ‘Call It Losing Touch’ feel like drowning and floating all at once; the lush and ethereal instrumentation punctuated by the occasional panicked jolt of guitar or drums. For best listening, simply close your eyes and let it wash over you as one of the year’s best releases.

SHVPES- PAIN. JOY. ECTASY. DESPAIR SPINEFARM- 14TH OCTOBER SHVPES like to throw out the genre rulebook. In fact, debut album ‘Pain. Joy. Ecstasy. Despair.’ sees the Birmingham fourpiece shaking up their metal image and pushing against all creative boundaries. On ‘Skin & Bones’, vocalist Griffin Dickinson tackles Rage Against The Machine-style rapping in a fire-spitting breakdown, while ‘Two Minutes Of Hate’ proves the biggest head-turner with hints of grime. Of course – as with many debuts – the sheer volume of influences on display suggests the band still need to solidify their sound. But, with a clear passion for self-discovery, they’re well on their way to becoming another brilliant band.

on fire. And so he does: The explosive American-angst autopsy “Bang Bang” hits as hard as anything on their Nineties classics Dookieand Kerplunk; when Arm-strong sings, “I want to start a rager,” it doesn’t matter that he’s appropriating the voice of a power-mad school shooter. You’ll wan-na rage right along. But Revolution Radio isn’t just hot nostalgia. It reflects decades of accrued emotional and musical wisdom. “Somewhere Now” is a call for personal and political clarity with a ringing R.E.M. brightness, and “Outlaws” GREEN DAY- REVOLUTION RADIO is like an anarcho-thrash Seventies REPRISE RECORDS- OCTOBER 7TH soft-rock ballad. Armstrong’s lyrics are Green Day’s first album in four years colored by his struggles with addiction is vibrant punk rock, unclut-tered by and fears about our Trump-y future. “If outsize grandiosity or conceptual this is what you call the good life/I want overthink. “Revolution Radio” sets a better way to die,” he rants over the the tone with its Clash-like policecontusive mosh-pit bounce of “Forever siren guitar, Tré Cool’s combustible Now,” before demanding a revolution drum tumult and Billie Joe Armstrong on his ra-dio as the song lifts toward snarling about cherry bombs and Who-huge triumph. It’s a noise built to gasoline as if he’s looking around his push him through darkness and into garage for stuff that might set the world the next scary dawn.

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WHERE ARE ROCK'S BIGGEST ACTS PLAYING THIS SUMMER? Novarock Nos Alive Download Madrid Download Paris Mad Cool Hellfest

June 9-12 July 7-9 June 22-24 June 9-11 July 6-8

June 16-18

Rock Werchter Rock Im Ring Roskilde Open'er Festival

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June June June June

30- July 3 3-5 25 - July 2 28 - July 1

FAN MAIL Send your photos, questions, letters and anything else to:

Beard goals The photo special of the best beards in rock in your last issue was brilliant. I love Jason from Letlive’s beard the most but shoutout to Alan from Four Year Strong too! katy, manchester

Thanks Edge!

I read your interview with Nothing But Thieves in the August issue of Edge and now I’ve falled in love with the band. Thanks so much for introducing me to the band and keep giving atttention to bands that don’t always get it!

I’ve spotted my dad! I showed your August issue to my dad and he was amazed at the fact that in one of the flashback photos of Liverpool in the late 80s you cans see him in one of the photos of skinheads next to a burger van! jack, liverpool

I’m now seeing them on three dates of their upcoming tour! Mike, Essex

WIN A DOWNLOAD BONANZA Win a luxury festival weekend pass to Download Festival with EDGE simply by sending in a fun caption to the featured photo. What is iron maiden’s janick gers doing? Send your submissions to

Photo above: Ross Silcocks

Photo Left: Matt Eachus

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THE WONDER YEARS SPECIAL edge's EXCLUSIVE DAN CAMPBELL INTERVIEW + all the latest in music news and reviews

EDGE Magazine  

A magazine that I created as a university project but with self generated content. It showcases a variety of design ideas all inspired by...

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