PLUGGED IN Issue 12 by Darren Warner

THE INDEPENDENT VOICE FOR MUSIC IN WALES

Issue 12

50 TOP WELSH ALBUMS

As Chosen By You

THE KEYS

Rock’n’Roll With A Twist

AMY WADGE River’s Apart

THE METHOD

A New Kind Of Retro

CUBA CUBA

INSPIRE WALES AWARDS

Safe On The Road

Our Editor Named Educator Of The Year

FOO FIGHTERS Back & Forth

LIVE REPORTS

Glasvegas, Battles Kylie, Take That, Eric Clapton JLS, The Wanted, Katy Perry The Blackout, FFAF, Sepultura Sophie Evans in The Wizard Of Oz

RAWR

Issue 2 Inside

PLUS

Brian Eno Twenty Twenty Matthew Frederick FourWordsLater Treorchy Male Voice Choir

EDUCATION IWA Educator of the Year Gail Griffiths and PCE Qualified Darren Warner, the co-founders of the award-winning PLUGGED IN magazine, the unique photography and literacy project that is a stepping stone into the creative industries, are able to facilitate a number of courses that will be tailor-made to suit individual participant groups, which educate young people in a professional environment. As industry-standard professionals who have over 25 years’ experience within the photography and media fields, both Gail and Darren have a highly proven track record of success with their past students and the work they do for PLUGGED IN magazine, with many of the young people previously tutored entering further education or employment, as well as gaining a fuller, more rounded understanding of the subjects they are taught.

PLUGGED IN magazine has helped me so much. It has helped my confidence as before I would be a bit scared or nervous about going up to do interviews with people but PLUGGED IN has helped me overcome my nervousness and has built up my confidence. The experience has been great and the fact that my work has been published is brilliant. Now I have been able to build up a portfolio of work. The experience has also enabled me to get a place on a university course that I have wanted to get on for years. This was also due to a great reference from Gail and Darren which was greatly appreciated. VICTORIA TURNER I’m definitely more confident with my writing and am even more interested in music and journalism than I was before. When I applied to study Media at university I had an interview and literally out of the portfolio of work I’d taken with me, the only thing they were interested in and wanted me to talk about was the Super Furry Animals review I’d done for PLUGGED IN. I had loads of coursework in the portfolio but they really didn’t care about anything other than the printed article! ROBYN KENNEDY

PLUGGED IN is an excellent project for inexperienced writers who want to have a writing career. It’s a really good starting point. Seeing your name in print for the first time is thrilling, it does wonders for your confidence! So in that sense, it’s good for the soul. But on an educational level, it’s a great experience; it keeps young people off the streets, gives them something to work for, and gives them some real purpose. And taking myself as an example, it makes you want to do more. It makes you want to do better again. It’s a great stepping stone for writers. I have so much respect for the magazine and Gail and Darren who run it. MARIA MURPHY I am now studying a BA in Photography at Falmouth University. I have no doubt that PLUGGED IN had a role to play in that, as at least a third of my portfolio was work for the mag. Not to mention the skills I acquired in talking about photographs which also contributed to my interview. I really do owe Darren and Gail a lot for that. JAMES BANNISTER

The photography workshop I was a part of introduced me to critiquing myself and others’ work, showing me exactly what to aim for. PLUGGED IN has really helped push my photography, before working with Darren I had next to no experience photographically, especially when it came to gigs. Whilst working for the mag I gained a passion for photography and unlike most I can claim to have published work at a young age, which will no doubt be attractive to future employers. COREY-LEIGH JOHN I was so excited when I saw a poster for the PLUGGED IN creative writing workshop I attended. I thought it was really cool that an actual magazine would be willing to educate and help those interested. I have learnt a lot about how to make my writing interesting, like what angles you can write a review from. I have grown more confident with each piece I have done and learnt a lot about the process from stage to page! Walking into a gig knowing that you’ve got to remember lots of details about what you’re going to see because you need to review it can be quite daunting but the creative writing workshop prepared me for it! McKENZY RENVAL

PLUGGED IN Education can provide a variety of bespoke courses for your Community Group, School or Arts Centre, with many of the courses feeding into PLUGGED IN magazine. For example: Basic Photography Live Performance & Band Photography Portrait Photography (Studio & Location) Landscape & Urban Landscape Photography Interview Skills & Techniques Live Performance Review Writing CD Review Writing Creative Writing: Poetry & Short Stories

Contents editorial@pluggedinmagazine.co.uk www.pluggedinmagazine.co.uk

ELCOME to a bumper issue of your favourite magazine — we say favourite because the number of downloads for last issue was over 21,000, not forgetting the 5,000 hard copies you snapped up in locations all over Wales! We’ve had so many good gigs in Wales recently that we’ve added an extra eight pages to this issue to fit in all the live reviews you’ve been sending us — so there are a fabulous 52 pages full of the bands everyone’s talking about for you to read. Also it’s been a busy time with PLUGGED IN workshops, with a group of young people taking part in another Photography Studio Masterclass to take the pictures for our latest Rising Talent section of the magazine on pages 6-9, and more aspiring journalists learning Interview & Review Writing techniques in a two-day workshop — the results of which can be seen on pages 26-28. And a first for PLUGGED IN saw Darren travelling to London to review a West End show starring a talented Welsh girl from Tonypandy — read how he fared on page 34. And finally, we release the long-awaited results of our poll for the 50 Best Albums by Welsh Artists — find out who’s in it from page 20.

Gail

IWA Educator of the Year We would like to thank Fframwaith for their generous support of this issue

Music News

Rising Talent

10 The Keys 12 The Method 14 Cuba Cuba 16 Foo Fighters 17 Brian Eno 18 Envirovision 20 50 Best Welsh Albums 24 Live Reviews 25 Take That & Kylie 26 Amy Wadge 30 Glasvegas 34 Sophie Evans 36 Battles 38 The Blackout 40 Matthew Frederick 43 FourWordsLater 44 Sepultura 46 JLS & The Wanted 48 Special Report 49 CD Reviews

Advertising Rates by placing an advertisement in PLUGGED IN you will be reaching a captive audience of 5,000 readers over a period of three months Sponsorship of One Issue, including a Full Advert (if required) £3,000 — and a great sense of well-being! Full Outside Back Cover Full Inside Front Cover Full Inside Page Half Inside Page Quarter Inside Page Insertion of Flyers

£400 £350 £300 £165 £90 £100 per 1,000

for further details, contact us at: advertising@pluggedinmagazine.co.uk

PLUGGED IN magazine is the creation of Haul Fryn Publishing on behalf of PLUGGED IN magazine (Limited), Company Number: 06766289. All rights reserved. All contributions to PLUGGED IN magazine must be original, not pre-published and not posted/printed anywhere until after publication in PLUGGED IN. Haul Fryn Publishing reserves the right to modify any material submitted for publication in PLUGGED IN magazine. Reproduction of any of the content of PLUGGED IN magazine, without prior permission, is strictly forbidden.

PLUGGED IN

Welsh charity Valleys Kids has acquired the iconic Welsh Hills Works building in Porth. The building formally known as The Pop Factory (where Corona Pop was once made and then the home of Avanti TV) will reopen as a 300-capacity live music venue, under the new name “The Factory” and will aim to cater for all age groups and music lovers. The Valleys are in desperate need of a dedicated and professional live music venue, and the doors to this one will officially open in September 2011, although a couple of events will happen in the summer months. The Factory will be open initially every Friday and Saturday night, offering a cross-section of live music from rock, emo, metal, indie, blues, prog, folk and dance, alongside some exciting club nights. Outside promoters have already made bookings, and The Factory welcomes enquiries from individuals or groups of promoters interested in booking shows. Alongside the venue re-opening Valleys Kids will develop the building as a creative hub for enterprising young people who are involved, or would like to break into industries such as digital media, and live and recorded music. Early plans for courses in digital broadcast media and live music engineering are currently being written.

Since the launch of RAWR magazine, many a celeb has been spotted clawing their hands in dinosaur fashion, telling their fans they love them! Included among those in the know is Lady Ga-Ga who has been seen repeatedly RAWR-ing to her fans — on The Graham Norton Show on telly and at her concert for Radio 1’s Big Weekend both on stage and during her pre-performance interview with Scott Mills. We love you too Lady G — thanks for spreading the word about RAWR! Turn to the centre pages to pull out and start reading RAWR Issue 2.

2011 sees the SONIG Youth Music Industry programme of Rhondda Cynon Taff CBC’s Cultural Services celebrating its 11th year! SONIG was launched at the BBC Radio 1 Fringe Event during August 2000 and since then Tanya Walker-Brown, the SONIG Youth Music Industry Co-ordinator, has led on the creation of opportunities for children and young people across RCT to engage with and participate in music activities. Through workshops, seminars, music surgeries and band events over 30,000 children and young people have engaged with the SONIG Youth Music Industry programme to date! A celebration event was held at the Muni Arts Centre in Pontypridd, where a new logo was unveiled to an audience of people who have worked with SONIG or been a part of the programme. Among them was Julie Weir, founder and director of Visible Noise who signed LostProphets, Darran Smith ex-FFAF, PLUGGED IN’s Darren and Gail, and Ladies Love A Superhero who gave a fab acoustic performance to round off the night.

PLUGGED IN magazine is a not-for-profit social enterprise, produced by unpaid volunteers MANAGING EDITOR & PUBLISHER Gail Griffiths CREATIVE DIRECTOR & CHIEF PHOTOGRAPHER Darren Warner CONTRIBUTORS Abbie Lawrence, Adam Perkins, Andrew Millwater, Anne Hawkins, Anthony Lloyd, Brogan Smart, Carwyn, Chloe Evans, Cristina Shuker, Daniel Holley, Gary Bolsom, Geoff Sawers, Georgia Morgan, Gus Payne, Iestyn Henson, India Morgan, Jared Owen, Jazmin Williams, Josh Richards, Keith Pattison, Leigh Jones, Lisa Derrick, Louise John, Megan Thomas, Mei Lewis, Mike Jenkins, Nia Liversuch, Owen Chant, Rhys Milsom, Ritchie Samuel, Rob Cable, Rob Jones, Robyn Kennedy, Rose Edwards, Sam Griffiths, Seanna Fatkin, Shannon Williams, Sophie Brown, Victoria Roper, Warren Higgins & Stephen Lewis

Part of SONIG’s fabulous programme is The Young Promoters Network, which was established in November 2010 to give young people in RCT opportunities to work within the music sector. As part of the YPN, young people can book bands, arrange venues, design artwork for flyers and advertise events — basically anyone involved can organise their own event! If you want to know more about how to be part of The Young Promoters Network contact: youngpromotersnetwork@gmail.com

One of the next gigs The Young Promoters Network will be involved with is on 6th August at The Factory, Porth, with Royal Glam, Venus Vipers, Reaper In Sicily and The Dirty Youth. Tickets cost £5, doors open at 7pm. So why not go along, check out the new venue, find out about joining the YPN and have fun!

For those of you who don’t know, PLUGGED IN’s Creative Director, Darren Warner and co-creator of your favourite magazine is the husband of Editor Gail Griffiths. And I’m very pleased and proud to announce that after completing a two-year part-time PGCE course he has recently qualified as a Lecturer in Photography. During the last two years, Darren has not only worked full-time, facilitated many PLUGGED IN workshops, attended hundreds of gigs, helped produce six issues of this magazine and be a fab dad to our two gorgeous girls, but has attended college, studied hard, written essays and lectured on photography — phew, I’m glad it’s all over! Congratulations m’dear — well done from me and the girls xxx

Do you have a favourite line from a song or piece of literature linked to Pontypridd? Is it a line from The Green Green Grass Of Home by Tom the Voice Jones? The Welsh National Anthem by father and son Evan James and James James? Or maybe it’s something more current from LostProphets, Funeral For A Friend or Motorhead? Or what about a line from a Catrin Collier book? Heather Parnell and David Mackie are artists commissioned to design a floorscape for Pontypridd town centre which celebrates poetry and song in the area. They are collecting inscriptions from songs and literature as part of the process and would love to hear from you right now! Send your favourite lines, together with song/book title and musician/group/author to: heather.w.parnell@googlemail.com

Orchard Entertainment, Wales’ largest music promoter, is branching out with the arrival of Greg Barton, a respected promoter in his own right, who brings Grab Promotions into the Orchard stable. Greg is a well-known figure on the Welsh music scene, operating as an independent music promoter here since 2003, setting up as many as 100 concerts and events a year. Orchard Entertainment Director Pablo Janczur said: “Greg is a great acquisition for Orchard, he’s an entrepreneur and knows the industry very well. We’ve been working alongside him for a while, but now he’s on board, it will make us a first stop for so many artists looking to play in Wales.” Greg added: “I was looking for somewhere where there was a support network to help progress the work I’ve been doing. Orchard is such a respected player in the market, that I felt this was the right place to be.”

National Award For Our Editor

At the most prestigious Welsh awards ceremony of the year your very own Editor and creator of PLUGGED IN and RAWR magazines, was presented with the award for Educator of the Year for my work as an inspirational educator. The Institute of Welsh Affairs (IWA) Inspire Wales Awards highlight the valuable contribution of inspiring people across Wales and I was one of 28 nominees entered for the Educator category. The awards celebrate the remarkable contribution of people across Wales who have set an inspiring example of innovation, commitment and leadership, making themselves role models for others. The Educator category recognises an individual who has pioneered an initiative which has been hailed as an example of good practice. With 12 PLUGGED IN magazines now in print, this unique educational project has given a lifeline to hundreds of young people who have been tutored in the skills of writing and photography, providing an invaluable portfolio of published work and a rare chance to get experience of the creative industries. And this year I’ve also been working on a new educational project with the aim of improving literacy standards among young people. The RAWR project which was launched in January 2011 showcases creative writing, such as poetry and short stories, produced by groups of young people in various educational establishments during eight weeks of fun workshops with me, following an accreditational curriculum. Their work is published in RAWR magazine at the end of every school term, which I have incorporated inside PLUGGED IN as a centre pullout. Both PLUGGED IN and RAWR magazines work on many levels, providing a unique take on vocational learning and dealing with improving literacy skills — and this is what the judges told me they picked up on when they decided unanimously that I was the worthy winner of Educator of the Year! I was thrilled to learn I was one of three finalists shortlisted for the Educator category, but knew the others in the group were very strong candidates so didn’t expect to win at all. When my name was called as the winner I was truly shocked and completely overwhelmed. I am extremely proud to have won this award as it recognises the commitment both Darren and I have in helping young people go on to achieve their potential. What we do in our workshops is teach basic skills and inspire you to aspire to bigger and better things — and that aspiration is something you can take with you through life. Darren’s always telling me what an important role I have — not only as an inspiring tutor, but as the glue that makes this magazine the professional-looking publication it is, as I use my many years’ experience of working in the media to put this mag together for you to enjoy. Over the last four years young people involved with PLUGGED IN have been lucky enough to interview major Welsh artists, including Stereophonics, LostProphets, Funeral For A Friend and The Blackout. But it is the writing and photographs by many of you young contributors of the unsigned bands at local gigs that is the mainstay of the magazine and, I believe, a major part of its formula for success. One of the many artists featured in PLUGGED IN has been Only Men Aloud, who sang a brill Tom Jones medley at the very glitzy Inspire Wales Awards ceremony and later that night congratulated me on their Twitter page: “Congratulations to all the Inspire Wales Award winners, especially Gail Griffiths of PLUGGED IN magazine who has supported us and many other young bands in Wales.” Thanks boys! I have been pleasantly surprised by the many messages of congratulations I’ve received since news of my award has got out — I’m very touched, and as you can tell totally over the moon! I hope to continue to work with many more young people on many more issues to not only produce two great magazines but give you something you too can be proud of.

PLUGGED IN

Main Photographs by Daniel Holley, Owen Chant Brogan Smart, Anne Hawkins, Abbie Lawrence

Gramercy Riffs

The Gramercys are a band from Cardiff. Clare (drums/ vox) and Chris Pompa (vox/guitar) are married and were in a previous band together, The Voices. Chris has worked with the other three members in various jobs: Steve Floyd (guitar/vox), John Liepins (guitar/vox) and Scott Baker (bass/mandolin/lapsteel). They play an eclectic blend of rock ’n’ roll music infused with the blues, steeped in country and brimming with soul and dashes of psychedelia. Influences like the Rolling Stones, The Byrds, Velvet Underground, Fleetwood Mac, Neil Young and Captain Beefheart make for blessed-out harmonies, rock ’n’ roll licks and country blues. They say they are influenced by “a desire to play good-time rhythm and blues, infused with the eclectic musical tastes of the five band members.” The Gramercys began with jamming sessions at the Pompas’ home studio and quickly found a shared love for playing rock ’n’ roll blues. Their debut, a live recording captured over one lost weekend, was released in December 2010. Recent support has come from The Keys who invited the Gramercys to play at their recent album launch. “There’s a fantastic music scene in Wales. To name but a few: The Keys, El Goodo, Y Niwl. Clare and Chris had a loyal Welsh following in their former life as The Voices. And if rumours be believed, Chris was raised by musical puffins just off Penarth!”

Ocean Red

Flip Money Gang

Aled, Corey and Rui make up Flip Money Gang, also known as Astar, Young Satch and BossL. The guys write all their own material and have learnt how to record their tracks at The Glamorgan Gates Project in Merthyr Tydfil, where they regularly use the studio to rehearse, work on their lyrics and record more material. The group performed their first gig at The Crown Inn, Merthyr Tydfil, and will soon have a music master class with Cardiff band DER Collective in addition to enrolling on Community Music Wales’ Complete Control Project. A talented rap/hip-hop group with heaps of dedication and ambition, the boys are certainly ones to watch for the future.

Ocean Red is a five-piece band based in Cardiff. The group draws influence from a large range of bands including Temper Trap, Editors and Snow Patrol. The band formed in late 2010 but have already found their sound, and produced several of their own original tracks. Shared passions between the band members for melodic and epic music coupled with catchy vocals ensure a focused and definitive style has emerged from the initial creative process. Keen to share and showcase their hard work, in April Ocean Red recorded a twotrack demo with Todd Campbell, bassist of Straight Lines and son of Phil Campbell of Motorhead fame. The two tracks that feature on the demo are entitled Signal and Hold On. These tracks illustrate their sound and feature exceptional vocal performances amidst a melodic indie soundscape provided by lush and often delayheavy guitar parts, and the solid, driving bass-lines and creative but intense drumming of the rhythm section.

Omega66

In 2006 Krik started Omega66 as an electronic studio project collaborating with different singers. In 2010, singer Sally Thomas joined up and some festival bookings took the outfit to the stage. This Cardiff-based band describes their music as “stanky funk electro bop”. It includes house, soul and some electronica, but always with funk driving it, and even though the music has an electronic sound and feel all instruments, apart from the drums, are played organically. Krik is in charge of writing, playing and producing most of the material and forms a great partnership with the soulful Sally Thomas as co-writer and singer, with Adrian Wiggins on percussion. Extremely musically eclectic, Krik effortlessly blends together many different styles, with dance music and funk forming the bedrock, and snappy beats and funky guitar riffs backed up by retro synth sounds.

Dan Phelps

Pianist and composer Dan Phelps has been living in Rhondda Cynon Taff for just over five years after previously living in Cardiff for two years while doing a Post Graduate Diploma in Music. He has recently released a debut album Reflections of entirely solo piano compositions, largely constructed of romantic melodies underpinned by flowing bass lines, best described as relaxing easy listening and which was 10 years in the making. After listening to the album that landed on the PLUGGED IN doormat, we just had to talk to the man behind the music — which is utterly beautiful. “My music has a lot of different colours to it. I love romantic and lush melodies, but in complete contrast to this I also write music full of rhythm and energy. My album in particular follows the former description. Generally though, even though I often dabble with jazz and pop songs, my music is best described as classical. My music has been influenced by many, many things. All of the different bands which I have religiously listened to over the years, classical composers and a big part of my inspiration comes from film composers, especially Danny Elfman, Hanz Zimmer and James Horner. I have also written music for poetry and other media which has also had an influence on my music. Being part of the Welsh music scene is really important to me. With the news of the Government and Local Authorities making more and more cuts to music education, music organisations and the arts, we need to keep music as alive and accessible as we possibly can. I’ve had great pleasure in working with a variety of individuals, organisations and ensembles, each one has allowed me to develop in a different way. From the music I’ve composed for Calon TV (an animation company), India Dance Wales, poets, artists and choreographers, to the local ensembles I have worked with and composed for (Ensemble Cymru, Cardiff New Music Collective and The Mavron Quartet, to name a few) as well as playing keyboard for a Bon Jovi Tribute band and a Ska tribute band, I’ve been fortunate enough to develop a very wide range of musical skills.”

Manhattan Coast

Thriving off influences from bands such as You Me At Six and Deaf Havana, Manhattan Coast deliver their own unique approach of alternative/ rock anthems. With a soaring vocal performance, massive swathes of melody, backed by a solid rhythm section, Manhattan Coast put their stamp on the South Wales scene with a sound like no other. The band recently recorded two tracks at Nottin’ Pill studios in Newport, South Wales, with Matt Bond (The Dirty Youth, Bullet For My Valentine) and Martin ‘Ginge’ Ford (Funeral For A Friend, Trivium). These two tracks capture the musical direction of Manhattan Coast perfectly and the band are planning to hit the studio again soon to record their ep/mini album with Romesh (Lostprophets, Kids In Glass Houses, Sony BMG Records) at Longwave Studios. Manhattan Coast have been extremely pro-active in on the music scene, and have appeared with bands such as Young Guns, Deaf Havana, My Passion, Dave McPherson (InMe), Yashin, Caesars Rome, Cuba Cuba, Fei Comodo, General Fiasco, Straight Lines, Colour of Fashion, Dividing The Line and many more, as well as recently completing a small UK tour.

Pretenders To The Throne

The band started life in 2004 as a rock band called SIXTY formed by four school friends from Pontypridd in South Wales. Soon original compositions were creeping into the band’s sets and the group began to focus purely on writing, recording and gigging their own material. Six years later, after several member and name changes, management and record label intervention, Pretenders To The Throne have emerged as a rock-indie band featuring Jay (vocals), Angel (guitar), Jamie (bass) and Tom (drums). The band always attempt to surprise their audience with their songs, never wishing to stick to one particular theme or style. In order to achieve this the band use a wide array of influences, ranging from things that are affecting their day to day lives or issues in the media. For example, Last Time Here was written about a school friend who tragically died and Heath Legend is a tribute to actor Heath Ledger. With some of the greatest voices in modern music heralding from Wales, PTTT feel enormously proud to be part of the Welsh music scene. “There’s a strong camaraderie amongst the bands gigging on the Welsh music scene that is unlike anywhere else we’ve experienced.” In 2006, the band received media coverage for recording and launching an album and donating the proceeds to cancer research. Last year frontman James Hunt enlisted local support and organised the hugely successful Rock the Boat Festival, which gave many other local bands the opportunity to play to a large audience on a big stage.

PLUGGED IN

Add-Mission

My Pet Monster

This Cardiff band have all known each other since school and have been playing in different bands since they were 16. Paul Atkins (vox/guitar) and Tim Ware (guitar) have been writing music together since they were 15. “We all went off to Art School and University, came back to Cardiff, moved in together with Sam Coates (drums) and decided to put the band back together. It’s been a lot of fun living together — except the bassist, Tim’s brother Tom, who lives across the road! — and making music, it’s kind of like The Monkees, but noisier as our music is a mixture of good old-fashioned punk and noise-pop. The soundtrack to house parties, going to gigs and endless summers! Being part of the Welsh music scene is great. When we were in growing up, we used to love going to see gigs. What was going on in Cardiff in particular seemed really cool and exciting. It was around the time that Los Campesinos were making it big — they remain a big influence on us, as they do for a lot of indie bands in Cardiff. Cardiff is a very exciting place to be at the moment, just so many amazing bands. Going to the Swn Festival really kick-started us, it’s such a great showcase for Welsh music. The Made In Roath (arts festival) was a real eyeopener. People from outside are starting to look at Cardiff as a musical and cultural mecca. It’s very exciting.”

With a debut ep coming out this month, this four-piece band from the Aberdare area is Mitch (vox/bass), Rhys (lead guitar), Nathan (drums) and Adam (rhythm guitar). Describing their music as “alternative-punk/ rock, combined with the catchy-ness of pop songs” they believe the desire to be different has influenced their music greatly, as they are consistently trying to forge something new and fresh. With each band member having a variety of musical tastes, ranging from David Bowie, Adam & The Ants, Led Zeppelin, Blink 182, The Toy Dolls. “At the moment the Welsh music scene is where our audience is, and that’s important to us. So far, we’ve played in many of our local pubs/clubs/ venues, and we’ve had support from many local bands, Alternative Expression to name just one. We’ve also, played on the same stage as one of Mitch’s favourite bands, The Chapman Family, when we supported them at their gig in the Millennium Music Hall. Our most recent gig was at The Muni in Pontypridd, supporting Friends Electric, alongside other great bands from the Valleys.”

JJ Sneed

Alun Reynolds from Pontypridd decided to set out on his own after fronting bands for years. He describes JJ Sneed’s style of music as “pop, electronic, fresh, full of life, energetic and ready to explode at any point” which has been influenced by a bit of 80s electro and a new direction in life. “At the moment I am heavily involved with the Welsh language scene and did a tour last September with the Welsh language society travelling from north to south Wales. I was named by S4C program Wedi7 as up-and-coming star for 2011.”

Dead Radio

Dead Radio began, as many bands do, as a group of mates with a need for a twice weekly noise session — previous incarnations have been known as Panacea and Jizzwagon. Nigel (vox/guitar), Mei (guitar), Dai (drums) and Julian (bass) play guitar-driven music with strong vocals and a tight backline. “We produce a hard sound that is very real to us sitting stylistically somewhere between punk, metal and rock. Musically we have been shaped by many influences ranging from classic British rock bands such as Led Zeppelin and Slade through to New Wave of British heavy metal, on to the American thrash bands of the late 1980s/early 90s and more contemporary American punk bands such as NOFX and Rancid. We are also very much influenced by place — Dead Radio are a band from the valleys of South Wales and what we see every day very much shapes how we are. We are all from the Blackwood/Newbridge area, where live music has been a part of all our lives for many years. Historically, the Welsh music scene has been strong and has produced some of the best bands of their time, and will always do so. We have had the pleasure to play with the likes of Kyshera, Fell On Black Days, This System Kills; to name just a few. The list of good bands around the place is long and varied. We have had brilliant nights playing with some great original bands, who love what they are doing and work hard performing their music, sometimes only to the soundman and his dog, but still giving it their all. The talent and charisma we get to see in some of the younger bands we’ve played with shows genuine optimism. We’ve had some memorable sets, alongside all manner of bands from the young, hard hitting Revoker, rocking stalwarts Dumpy’s Rusty Nuts to the bizarre Kunt & the Gang. Not to mention the octogenarian in the bright orange suit at a battle of the bands! We’ve played regularly with 100,000 Bodybags lately, which are always memorable gigs for all sorts of reasons. We’ve also played recently with Djevara, Andy K (check this guy out, he’s great entertainment) and supported Black Spiders. We’ve also toured Newport about a million times, and sometimes beyond, resulting in some encouraging feedback and support from Benjii Webb of Skindred. Keeping it all going are local events like the recent R.A.IN Incinerator fundraiser in Pontlottyn and Slugfest at Abertillery, held in July and in its fourth year. It started out as a one dayer to celebrate Slug’s birthday party and has grown into a three-day pub event with a strong and varied line-up. We played two of the previous as Jizzwagon and our first as Dead Radio this year.”

Henry’s Funeral Shoe

Henry’s Funeral Shoe is a rock and roll band that was formed in 2008 by two brothers from Ystrad Mynach in South Wales, inspired and influenced by many of the albums that singer/guitarist Aled Clifford had looted from his father’s vinyl collection when he was growing up. The Who, CCR, Peter Green, Robert Johnson and the Beatles were favourites, and Aled quickly became a gifted guitar player, aided and taught by Ned Edwards, a long time collaborator of Van Morrison. Aled soon played with various bands, eventually doing some recording sessions for producer Ian Grimble, and even recording at the legendary Abbey Road studios. His younger brother Brennig started playing drums at nine. At 15 he joined a local band, learning his trade by performing covers of The Clash and Thin Lizzy before moving on to writing original material. The dexterous brothers have finally joined forces to create some of the loudest soulful rock’n’roll to come out Wales in a long time. “When we first started out we couldn’t get a gig in any of the venues in Cardiff, Newport or Swansea. Our friends in Aberdare who had bands would either let us open for them at gigs up the Valley or would let us play at parties they organised. We got started there and decided to blaze our own trail. We’re passionately Welsh and have had to explain enough times we’re not English while on tour in Europe! Touring Europe has been the best thing so far. Turning up in a city you’ve never been to but have the crowd already singing your songs is mind blowing. We toured Holland with a band called The Legendary Shack Shaker who have Duane Denison on guitar. He used to be in Jesus Lizard and is a real legend on the underground scene in the US. Amazing guitarist. We did some shows again in Holland with The Cosmic Psycho’s who used to tour regularly with Mud Honey, Nirvana and Pearl Jam. So listening to their stories were amazing. Touring is where the fun and hard work meet. If a band hasn’t got it in them to bust they’re arses touring then there’s no point being in a band in the first place.

Urbanlegends

Urbanlegends have been fused together from three corners of Newport. In October 2008 Loryder and Jay B were both solo rappers and met at Nottin’ Pill studios in 2005, after meeting Daflexa, an old school friend, in 2008 they decided to team up and create Urbanlegends. “We’re pure hip hop with a self-styled twist of lemon, we produce everything ourselves using software as well as hardware and seem to have created a signature sound. We each have different tastes in music, Loryder is into metal, Jay B is into rock and Daflexa is into D&B, but we each have a massive passion for hip hop so we take influences from lots of different genres and jam them together to create our style. We think it’s very important to consider ourselves part of the Welsh music scene, being in a band is like being in an institute, a community, it’s always good to feel part of something bigger than yourselves and Wales is where we’re from. We had our first two tracks played on BBC Radio Wales within the first two months, which we followed up by playing at the Small Nations festival and Fashion Wales Live where we supported Akil the MC of Jurassic 5, we’ve played about 20 or so gigs now and have just released our debut single Myth. Last year we got the opportunity to go and play a concert in Warsaw, Poland, supporting Polish rapper ELDO, on his European tour. Whilst there we also performed at a nightclub and did some radio and TV interviews. We met a producer and started working together — the track we produced has been doing the rounds in the clubs over there and is doing well, it’s not exactly our style of track by it’s good to stretch ourselves and try something different. Our new track together has just been completed, Demonstration by Simon Says feat Urbanlegends. We’ll be going back to Poland in November to work with another producer and play a few more shows. We’re in the studio at the moment creating our album Puppet World which we’re hoping to have ready for release by the middle of 2012.

Eject Pilot Eject

In August last year Eject Pilot Eject changed overnight when Sarah took over singing on the latest tracks. “It was very much a ‘this is it’ moment — we’d found the sound that both completed us and excited us. There’s something in our music that harkens back to a more classic rock era but it’s only one part of our music. It’s not so much nostalgic it’s more a love of songs, great melodies and guitar lines. One moment we could be playing a lighter song the next pulling out all the stops for a heavier number. We make each song stand on its own two feet, whether you know who we are or not there’s always something people can take away when listening. We all have quite diverse influences and it’s something we use to our advantage. Owen often brings in the song and each of us applies our own musical personalities to it. The finished song in a lot of cases ends up with a different identity to Owen’s original demos.” In that respect it’s difficult to tie down influences to particular artists. Sarah very much brings a dynamic female rock vocalist to the forefront; Owen’s guitars are very much rooted in a classic rock style and Luke has a more frenzied yet melodic bass approach. “Growing up in the 90s there was a buzz about the whole ‘Cool Cymru’ movement that we think has stayed in people’s minds. There seems to be a new wave of great bands coming out of Wales at the moment and it’s great to be part of that. While our music is not excluding to anyone there is a definite patriotism that runs deep in every Welsh individual. The best thing that’s happened to us so far has been working with producer Paul Durrant, who’s helped bands like Stereophonics and Catatonia (to name a few) in their early career through his Grassroots Studio. We’ve been working with him since early 2010 and continue to do so. We’ve now recorded two sessions at the Manic Street Preachers’ Faster Studio in Cardiff. It was great to be surrounded by such history. Right now we’re very much focused on building the live show, we’re still earning our stripes on the live circuit. As well as that we’ve just started pre-production for our next recording session as well as planning a release of one of the tracks we’d recorded last year.”

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EXCLUSIVE INTERVIEW

he cauldron has been well and truly bubbling at The Keys HQ, where the Cardiff psyche-rockers concoct spellbinding tunes that reek of psycho-eccentricity. With buzzing guitars that rock alongside a down and dirty psychedelic glow, The Keys are one hell of a great band. Consisting of Matthew Evans (vox/guitars), Gwion Rowlands (guitars/vox), James Bell (bass), Tomos Lewis (drums) and Carwyn Ellis (keys/percussion) The Keys’ brand of psycherock is a wonderfully dynamic sound that rattles and buzzes in its rock and roll, yet sits sombre and sun-kissed in its mellower vibrations. Everyone Loves You, a track off the new album Bitten By Wolves, is pure genius and showcases the band in all their glory. A gritty, fuzzy, bouncy and audacious riff gyrates throughout, with vox and drums offering tantalising harmonics in the slower parts only to be ripped apart with demonic and abrasive distortion battling with jazzy lead guitar. It’s an outstanding track! Citing influences such as Sonic Youth, Panda Bear and Small Black, this potion of American low-fi sounds is mixed with the depth of bassist Jimmy Bell’s apparently massive record collection, and the experience of relative fame of being ‘Murry The Hump’, from whom The Keys have evolved since 2001. Gwion: “It sort of fizzled out more than ended. We knew it was coming to an end and Matt and I had already decided that we wanted to carry on with something else and have a change of direction — a slightly different musical style. There’s more emphasis on the guitars and sounds. And we did find, if truth be told, that the name Murry The Hump didn’t help us!” Matt: “It’s part of nostalgia, to be honest, and I think that people think MTH were better than they actually were. I don’t know why, but the songs were funny I suppose, and a lot of fun, and people liked it. I didn’t realise it was that popular until we split it up actually. I think a lot of bands find that. But we are never going to reform! It’s not going to happen… But to be Indie Ghetto — it was alright!” So, with the inevitable MTH connection being dragged up and put to bed, The Keys, it must be said, are a completely different beast. Garnering a sound that melds fuzzed up guitars and bouncing riffs and backlines, with soaring psychedelic soundscapes, this is rock and roll with a twist. “We like this sound, we don’t feel embarrassed by this sound and it’s a sound that we are really into and each song comes into the sound that we want. Some songs we find hard to get going, but if we find a way then they really come alive!” Much time and love has gone into this project, having previously recorded a first endeavour, The Keys, in 2003, helping them find themselves, and then two cracking EPs, Le Mans in 2009 and Fire Inside in mid-2010, which features three incredible tracks that really do put you in the mood for much more Keys action. “It’s taken years because it’s been evolving as a sound. I hate to use the word ‘organic’ but it has been organic in that it has evolved with the players! Jim came in to play bass and then came the process of finding a drummer and then a writer. It’s not something that happened overnight. We definitely have a distinct sound now and that is purely ‘The Keys’. We are doing our own little thing and that’s great! We are in control of the process, but we let the process take control as well.” Released last May to great affection at Cardiff’s Globe, new album Bitten By Wolves has announced itself. It’s a superbly crafted record with a fuzzed up, psychedelic ambience, and a

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devilishly dirty rock and roll sound, all thrust into 11 tracks of hypnotic acrimony. It really is a wonderful piece of work. From the dirty fuzz and archaic bounce of Teachers Daughter, to the heartfelt melancholy on closing track I Just Can’t Convince Myself there is so much to keep you entertained. Matt: “If it was up to me I would be tinkering with it forever, but it was nice to have a deadline whereby we said you have to stop now. And we are really happy with it!” It starts with two melancholic tracks, the dreamy Bitten By Wolves and 16 Horses, which is a wonderful piece of music full of ethereal ambience in the keys, guitars and vox. But then you are taken on a journey into the warped and psychedelic as I Tried To Find It In Books and dark and dirty The Colour Red, which stinks of dried blood and offers a darker side to The Keys. With bouncing bass, more toms, more reverb, it gets seriously psyched up and heavy with snarling guitars in the raucous chorus. Matt: “I’m quite proud of that one because it’s very lyrical and quite hard to do live… It’s an idea from a Mickey Spillane book I read once called My Gun Is Quick. I found it in a studio, and like Pulp Fiction it’s a hilarious crime book about a femme fatal with red hair. I just thought it was wicked.” With tracks Crackin’ Up offering sun-kissed psychedelica with its lead guitar dancing, swaying, prancing and reverbing around a tantalising beat that drifts, ebbs and flows through great drums and bass and guitar, and the dreamy and serene When You’re Young, The Keys are on fire throughout this record. Gwion: “Playing Crackin’ Up live is such a hoot!” They’ve even got a crazy Western-esque track (Heads Of The Valleys) that really gets the imagination going and ends in a gunfight! The record has a great ‘voodoo’, as the guys like to put it, and have been compared to a lot to being a fuzzed up and psychedelic 60s band. “We like that stuff, and it shows how close to that genre we are. But we’ve got our own little thing going on. I think we are a lot darker than that American West Coast 60s thing. We’ve got more reverb going on and more toms, and we write songs about murder.” The album is released on See Monkey, Do Monkey Recordings, which is starting to become some kind of a phenomenon in Wales. “It’s been great. Aimee, who’s behind the label being set up, has been such an inspiration. She is into dirty, stinking rock and roll, which is what we are. It’s what we believe in.” Such is the bond that there are already discussions about giving Le Mans a proper release through the label which is helping to front a local music scene that The Keys are excited about being part of, and believe is getting back to its best. But most of all the guys are really enjoying making music at the moment, and being The Keys. “We love it. We played Liverpool recently, which was the first time for years, and the first time as this band. We just went there and blew everyone away. It’s such a focussed thing that we have going on now, and people really get it. It’s taken a long time, but it’s come you know!” And to think that not so long ago this great album, and this wonderfully eccentric psycherock sound of The Keys might not have happened: Matt: “There was a long time in which we didn’t release anything, and me and Gwion had sort of knocked it on the head, so there was a back catalogue of songs. And I think we have reached the point now that there is no back catalogue, so from now on in it’s sort of The Keys are dead, long live The Keys!” Long live The Key’s indeed…

Words by Adam Perkins Photograph by Darren Warner

EXCLUSIVE INTERVIEW

rriving in the Canton area of Cardiff was like walking into a ghost town, the streets were quiet with what looked like the only coffee shop in town open. With it being a rainy Saturday morning I assumed the reason for this was the bad weather and a heavy Friday night for the locals. Upon meeting the band the heavy night was confirmed, arriving at the meeting place with coffee in hand looking slightly hungover...living the dream! I was looking forward to meeting the band as their style of music is something I am well into and it seems like a funny thing to say but retro is the new future. There has been an emergence of late of this scene down in Cardiff, especially with the label See Monkey, Do Monkey who seem to specialise in this scene. The bands on their books include Houdini Dax, The Keys, Colorama and The Moles — and I had the pleasure of reviewing CDs by the latter two bands for PLUGGED IN issue 11. Singer Ritchie tells me: “There are a lot of trendies in Cardiff who definitely follow scenes. We noticed how well the label and the bands are doing now, and there are a lot more 60s kind of things popping up here and there. When we first moved to Cardiff we noticed there was a lot of twee music and then that shifted into folk. So it was hard for us at the start because we didn’t fit in anywhere.” After meeting The Method I discovered they were the first band signed to the See Monkey, Do Monkey label. Drummer Sanders elaborates on the creation of the label: “Basically, the label was set up because there wasn’t really any scene and we didn’t feel like we fitted into any other scene in Cardiff or Wales for that matter.” Ritchie adds: “So we said f**k it and basically started our own scene!” Aimee Hayes runs the label and set it up out of her love of 60s music and wanting to bring that retro style of music back to popular culture. There are a good number of bands now on the label with a retro sound but at the same time offering something different. “It was just a case of pulling in other bands that we liked who had a similar sound, but at the same time being original and all credit goes out to Aimee for achieving that,” says Sanders. “We’re all playing the same sport except we’re using different shaped bats!” says guitarist Johnny, which sums it up perfectly and leaves the rest of the band in disbelief with his on-the-spot analogy. With the band having a retro sound it was obvious to me where the influences came from. Ritchie explained: “I’m mad about 60s music in general — be it soul, reggae or beat groups — but we all have different influences and you can tell that as it comes across in our music.” Ritchie also thinks that the music scene is heading back to simpler times. “I see it kinda going back to a grass roots kind of level. The days of being a rock star and earning loads of money out of it are gone, especially with bands like us. So I think people are doing it more for the love of it these days.” When

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asked about commercial success Ritchie replied, “Obviously commercial success is people buying our albums, so yeah we want people to do that.” Before the rest of the band pipe up, “I want my face on a lunchbox!” “I want a doll!” Erm... each to their own mate! Ritchie and Sanders were in a band previously called Omega66 they both decided they wanted a change of direction and Ritchie put together The Rhythm Method. “It was a good Catholic name, but we just thought it was a bit of a joke so decided to drop the rhythm part of it...so to speak.” Ritchie describes the band as having a garage-soul feel to the sound. “That will be garage-rock and not the So Solid Crew mumbo-jumbo.” While Sanders mentions that “Psychedelic gets thrown at us a lot of the time.” After listening to the new debut album Dissidence & Dances, I believe there is a case for both descriptions. Recording the album didn’t come easy for the band. “It’s a strange one. We went out to a studio in Newport with a producer who is a true gent, but the sound just wasn’t right for us. So, basically, we had a chat with him, took the tracks off and mixed them ourselves in our own studio. We recorded a couple of new tunes and re-recorded some as well.” Ritchie seems to be the main songwriter of the band, but adds, “There are a few tunes we did write together, me and Johnny have written a few tunes as well. A lot of the time I’ll write a tune, then bring it to the band and go through it and add our own little bits and go through it again. Sometimes when we’re in the studio someone will play something, like Johnny will play a riff and we have a jam around that and try to arrange it into a little idea.” So having recorded the album it’s now time to go out and play live, and with summer around the corner (believe it or not!) The Method can be seen at a number of festivals. “We are pretty busy with the festivals up and down the country promoting the album and playing for as many people as we can. We love getting into the studio and recording but live is really where it’s at for us,” says Sanders enthusiastically, only for Johnny to say, “It’s just the stuff that goes on before and after the shows that’s a pain in the arse, including carrying heavy things whilst covered in a weird cold and hot sweat!” So plans after the festival season is over? Who knows, but Ritchie is hoping to hang five. “We’ll probably wind down a bit, take things a little slower, get our heads down, remember we also have day jobs! We do this for the love, there’s no chance we do this for the money!” And Sanders, Johnny and the ever silent Matt (percussions, horns and other instruments) are all in agreement that if they did do it for the money then they would be “a lot slimmer, jaundiced and considerably more dead!” These guys play great music, so I advise you all to check out if The Method are playing a gig or festival near you — then definitely go see them!

Words by Gary Bolsom Photograph by Darren Warner PLUGGED IN

EXCLUSIVE INTERVIEW Words by Ritchie Samuel Photograph by Darren Warner

t’s cold, wet and early on a bank holiday Monday in May. Enough to force a band not be bothered to turn up and do a sickie. But to my surprise, when we arrived in the heart of Pontypridd we were greeted by a warm and friendly welcome by the band. So as Darren sets up the scene for the photo shoot and snaps away, I can’t help but be amazed by a band that has grown together with so much maturity, professionalism and ambition for guys their age; as I stand haplessly in the rain watching on. So with the shoot finished, it’s off to PLUGGED IN HQ, to warm up and chat to the guys. Since we last had a chat in Issue 5 (available for free online at our website), the guys have lost their bassist Rhys, but swiftly brought in Michael McCabe to replace him. “Mike’s fitted in straight away,” frontman Morgan replies instantly to my first question. “We were kinda lucky to have found him, we’ve fallen in love with him, we are always on the same wave length.” He then jokes around, before Michael adds, laughing, “We are never ever on the same wave length! But, yeah, I love being in this band.” It’s clear to see the unity that this band has isn’t just a front for us. The guys’ professionalism might have rubbed off on them from their manager Ryan Richards, better known as the sticksman for Funeral For A Friend, as the band reveal that during this year’s champions league final, he sacrificed watching the game (and being a massive football fan, that’s huge) so he could help the guys pack up onstage after they’d supported Funeral Party, even though they asked him not to. Main keyboardist Danny offers the view, “He knows what it’s like. He’s had a tiny band before, and knows what it’s like to load it.” On the release of their stunning minialbum Tales From The Cabin, PLUGGED IN reported these guys were ones to watch — and after listening to forthcoming album Where Else Is Safe But The Road? I can confirm that that special-ness has exploded across this new album, a true creative and beautiful masterpiece of a record. Recorded with producer Todd Campbell, the band reveals it’s been almost a year since they started the whole recording process. “We kinda said that this album is going to sound amazing,” states Morgan. “We needed the time to experiment, whilst we recorded so that’s why we went with Todd, who is a good friend anyway. It was probably the most relaxed environment it could be.” All the band agree though that they could produce a good album under the pressure of having a set time period to record it, but as guitarist Sion rightly put it, “I don’t think that would suit us, as we are an experimental band.” The influences of this album vary quite a bit: all agree that Death Cab For Cutie plays its part, but as individuals Morgan cites the new Phoenix album and Wolfgang Amadeus amongst the whole Coldplay back catalogue, Danny chips in with Friendly Fires and Sion adds in with The Killers, Michael adds that he loves a bit of metal, which is interesting to hear as the Cuba Cuba sound is so diverse from anything metal. Morgan explains: “There were bands and albums that influenced the music, and ones that influenced the whole direction of the album. It’s a natural direction, but

in the back of the mind it comes from all that you listen to.” Michael concludes: “We make that conscious decision though to be that little bit different.” And the rest of the band nods in agreement. So as the band start receiving reactions to songs off the album, in particular Hong Kong, which was given via their social networking outlets as a free download, the reaction has been very good critically and more importantly from fans. “We’ve been playing the songs for a while now,” says Sion, before Lewis adds, “so we’ve been gauging reaction for some time.” The free download the band describes as being put out for the ‘shock factor’ as it is something more unusual than what they’ve already put out there. Of which the album format itself is unusual to others, visually illustrating their creative outlet as a band by producing a mini-wallet, which they describe as an Oyster card sized wallet and a pop-up album where by the disc pops out whilst you open it. “We wanted to make this album as affordable as possible, so Tom [Beck] at the label [Walnut Records], explored the different options available to both make a profit and for it to be affordable. With the miniwallet you get album art delivered to you and a download code, which I think people are going to love!” says Morgan. “You get to own a physical copy,” adds Michael, whilst Sion adds, “Tom is a real DIY hero!” Morgan adds, “It’s still going to be digitally available on itunes and the rest, but you’re paying £8 for that compared to £3 for the same thing and some of the artwork.” The guys have built up quite a solid fan base across the UK, sharing the stage with the likes of Funeral For A Friend, Funeral Party, Airbourne Toxic Event and Francesqa. “We always make a massive effort when we play somewhere outside Wales, to make time to speak and socialise with people,” says Morgan, and Sion adds they are getting a reputation for being a band that brings the biggest and best party. However they do note that there seems to be a difference between UK and USA bands. “The American bands tend not to speak to you!” Morgan says bluntly. “American bands that come over here are at that next level, so they want to retain that untouchable-ness.” However a gig with the Airbourne Toxic Event gave Morgan the chance to quiz the guitarist about the essay on the American Civil War he was doing as part of his University studies. The few adjustments he made after his chat resulted in him getting a top mark — so the American bands aren’t all bad! The boys in Cuba Cuba are living proof that you can be doing substantial work in a band whilst combining education successfully. “Prioritise!” is the word straight away from Danny. “It’s all about communication and prioritising because if you love doing something you can always find the time to do it.” With the Walnut Tree Records tour coming up, alongside the new record release, and an expectant video for single We Wrote (which they describe as “one of the big favourites of the album”) the guys are focussing on the here and now. But they still have their ambitions for the band and that is continuously driving them on. Keep and eye out, the world is definitely theirs for the taking.

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With the release of Back & Forth, an intimate and comprehensive portrait on DVD of one of the biggest rock acts this planet has ever known, drummer Taylor Hawkins talks to Warren Higgins about the Foo Fighters and life under the constant gaze of a camera lens You came into the Foo Fighters coming from the Alanis Morisette band, and at that time things were pretty massive for her. Were you apprehensive of joining the band considering the reputation that Dave Grohl had, as a drummer, but also as a drummer’s band? No, that never really entered my mind. I just knew that I liked the music and I knew that I wanted to be a part of it. I was just going from band to band and doing whatever I could at that point just to keep working, and at that point in time one of my favourite bands in the world was Foo Fighters. I didn’t know how long it was going to last — I was just like, “Alright, I’ll join the Foo Fighters, maybe just for this record and that will be it.” Pat [Smears] quit right after I joined the band so I didn’t know what it was going to be like, every year after that was just another year that it was just “Oh, I guess we’re going to keep going.” You joined the band after The Colour & The Shape had been recorded, so basically came straight in to start touring that record. Was there a point at which you felt a proper part of the band, the drummer for the band, where you got involved with the song writing for the third album? I don’t think there was a particular point in time where I thought, “I am now an official member.” When I joined I was made an official member, for whatever that was worth. I don’t know, really for the first five or six years that I was in this band it was just sort of touch and go with us, the whole “I guess we’ll do another

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record.” We didn’t know what was going to happen, we just took it as it came.

that was a part of it. It’s hard to say what becomes a part of it.

You recorded Wasting Light in Dave’s garage. Was it fun to take a back-to-basics approach and have a garage band feel to the album? Well we didn’t really — except for the fact we did it on tape — we hadn’t done that since Nothing Left To Lose. There wasn’t much of a difference, just another version of a studio! We recorded in Dave’s basement for a couple of the records back in Virginia so it wasn’t like “oh let’s get back to the basics in the garage” it was just “let’s do it over at Dave’s house” and it’s built it up more that way as an angle you could say, but really at the end of the day it doesn’t really matter where you record. A garage is just the same as a room in a studio, especially if you have the proper gear. It was relaxed as it wasn’t in a studio, it was in Dave’s guest house so it was great, it was fun. It was a new place to do it as we had done our last two in the same studio and I don’t think we wanted to make another one in the same studio, we wanted a change of scenery.

Back in April you told the NME that you would rather the DVD wasn’t released as you weren’t comfortable with that amount of openness. Do you still feel like that after you’ve seen it and have seen the reaction that people have had to the DVD? I’m just kind of past it. I never was necessarily that interested, especially as I got older, in anything other than music. Being such a big part of what people see or know about me. Obviously things happened to me in my twenties, my late twenties — that was a long time ago and I didn’t necessarily want to relive it for everybody’s dramatic enjoyment. At the end of the day you get into this business and you decide “yeah, I want to try to be some sort of professional musician” and that’s the price of admission, you have to deal with — the fact that there’s a certain amount of privacy that’s just not going to be there any more. It’s all just part of the game, it is what it is and it’s not my favourite part of it and obviously I have things I’m not necessarily that proud of that I did in my twenties but I think we all do to a certain degree — it’s there now for my children to watch someday…and I’m not too happy about that either! But it is what it is, all part of the game. I think it’s pretty enjoyable for other people to watch I suppose as it is really honest and in the end I suppose a candy-coated version of life won’t be as interesting.

That was one of the things that came across in the DVD — you’re there with your families, playing in the pool and the kids rocking in on the recordings — there’s a real, relaxed vibe to it. Do you think that approach came across in the recording and in the album? Well it was absolutely easier I would say than some of our past records, it was just a fairly easy record to make, it really was, and maybe

When you were recording the album, as you can see on the DVD, there were always cameras about. Was there always the aim to make this DVD, or was it just friends with cameras recording the sessions? There was never an absolute plan when we started making the record to make a sort of retrospective documentary, but we just weren’t really sure what it was going to be. It was pretty much left in the hands of the director James Moll and he took it in his own direction and the way he wanted to and didn’t really give up on his vision, ever. At first I thought “well this really isn’t about our music, it’s more about our lives”, but then the more I thought about it — and all of us did, in a way — people already know about our music. There was a bit on the “how to” of how we made this record at the end of the movie, which was somewhat informative in that sense, but at first it just seemed to be about the drama of the band, but hey — that’s what people are interested in. That’s what I’m interested in when I watch a rock and roll documentary, you know — who died, how many drugs did they take, who are they f**king? That’s kind of the deal isn’t it? Now this is the seventh studio album for the band, you’re also headlining a lot of big festivals across the world. Quite recently you did a garage type tour — did you enjoy doing that? You do that with your own band Taylor Hawkins & The Coattail Riders where you play the smaller venues — was it nice to have a little change and put Foo Fighters into those smaller areas, besides from doing the big shows like the Milton Keynes Bowl and other festivals? Yeah, I liked it. I probably like it a lot more than anybody actually. I tend to find those smaller situations — be it a garage or a small club — more musically satisfying, I really do. I tend to feel like these big giant places, even though they’re good as you reach a lot of people, that it shows your, I don’t know, status! Like “hey I’m headlining a big festival” and that’s great because it means that people are really getting it, and they really like it, especially when they stay opposed to us being the exit music. It says something, it’s pretty amazing, but at the same time on a musical level I tend to like the little small situations as it feels we’re all tight, close together, in a small little club, a different kind of thing happens in comparison to being up on a big huge stage, in front of say 20,000 people. The day after a festival performance you have a day off — do you hang about to see other bands, or do you move straight on to the next place? We pretty much just move straight on to the next place, as we’re all usually getting ready to go somewhere else. We all have our families with us right now so days off are kind of family time, so we go to the park, that kind of thing. Time to spend some time with your kids.

Having supported both The Saturdays and The Wanted so far this year, it seems as if Twenty Twenty are the new kids on the block with a real big buzz surrounding them. I wanted to know a little bit more about the cute three-piece band that my daughters are totally hooked on after listening to their debut album Small Talk and seeing them perform the tracks live. So I caught up with the pretty boys before one of their shows in Cardiff to for a friendly chat. Jack (bass) and Sam (guitar) are brothers who like to play music and met Sonny (drums) through a friend a couple of years ago. They started jamming and when they clicked as a band the boys decided to run with their creative flow and wrote some songs that they thought were good enough to put up on their website and also take out to play live on the unsigned circuit. The band and the songs were obviously very good as the boys were soon picked up by a major record label — which is how they are now playing the big arenas as support for the label’s household names. On stage the boys are full of energy and seem like they’re really enjoying themselves, off stage they are funny and friendly and genuinely appreciate the fact that they have a fast-growing fanbase. Influenced by American rock-pop bands like Blink 182 and Green Day, the TT boys love music and say if you want to be in a band just do it. “Even if it only lasts two days you should still do it, it’ll be the best time ever! It’s taken a few years to get to where we are now and we’ve had to really work hard playing small gigs with not even 30 people watching us, but it’s those tiny gigs that we can look back on now and realise what fun they were. However big we get it’ll never be too serious that we won’t be able to enjoy ourselves.” Obviously proud of their album, the boys are really pleased that the track Get Down has been chosen to be part of the new Horrid Henry film that’s in cinemas this month. “It’s a huge honour, we’re just so chuffed!” And talking of tracks, my final question for the band — which my 10-year-old asked me to find out! — was what is their favourite track on the album? After a short discussion they finally reveal that Superwoman is Sam’s favourite track and Jack likes Burning Up “as it’s a great song to play live”. Well, me and my girls look forward to seeing you performing them at Ponty’s Big Weekend! GAIL GRIFFITHS

As he releases a colabrotative album with Rick Holland Drums Between The Bells, super mestro Brian Eno tells PLUGGED IN about the creation of this modern day masterpiece. I suppose it must have liberated my ideas about what a ‘song’ could consist of: it didn’t have to involve singing. There were other examples of music with speech rather than song - the long spoken sections in The Shangri-La’s Leader Of The Pack, Mike Berry’s Tribute To Buddy Holly, and then a whole slew of spoken country songs such as Wink Martindale’s Deck Of Cards. Around the same time I had become fascinated by the sheer strangeness of Schoenberg’s Pierrot Lunaire, in which he pioneered the idea of ‘sprechstimme’ — speech-song. More recently, of course, there’s the whole vast treasury of hip hop-poetry and music in a more visceral form. In the late 90s Professor Dan Fern, Head of The Communication Department at The Royal College of Art where I occasionally taught, helped start the Map-making Project, an ongoing series of collaborative works between students of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the Royal College of Music, the National Youth Orchestra and the English National Ballet, among others. It was at one of these events that I first heard the poems of Rick Holland. Often we wanted a voice to read, and I had been paying attention over the years to voices I liked. Those on this record include a lady who works at my local health club, a sales assistant in a local store, the Italian research officer at an NGO I’m involved with, a young South African woman I met on the street near my studio, my Polish book-keeper, and a Ukrainian graphic designer...all people with distinctive vocal personalities. The non-native voices interested me because the difference of their melodies and timings drew a new kind of attention to the words themselves. Foreigners speaking English often make it much more obviously musical than we natives do. Glitch for example, benefits from the Grazyna’s clipped Eastern European consonants, while Laura’s softly melodic ‘vowel-y’ pours it out on Pour It Out. I hope this record will signal the beginning of a new way for poets to think about their work, and for audiences to think about poetry. I feel this is an idea whose time has come.

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he song has always been used as a means to educate or highlight a cause. Think back to the anti-war sentiments of the writings of Bob Dylan or songs about inner city plight like The Clash classic Guns Of Brixton. One of the most influential songs of all times was Do You Know It’s Christmas, a song that started the whole Band Aid movement and its subsidiary charities Sport Aid and Comic Relief. Songs can be used as a powerful tool and taking this element to highlight and educate within the school environment is a proactive way to tackle educational issues. Now in its fifth year, the Envirovision Song Quest has tackled environmental issues on the front line of education by using music and words to inspire young people to address worldwide problems. This unique educational experience places professional musicians in a class of students, who then have to write all the lyrics and create the music surrounding such environmental themes such as Recycling, Littering, Graffiti and Dog Fouling. What comes out as the end result is a wide range of interesting songs that not only are a pleasure to listen to, but all have an important message to shout about. These songs are then pitted against each other in a night of environmental rock ’n’ roll and judged by prestigious music impresarios who, at past events, have included Sean Smith of The Blackout, the late Stuart Cable, Pablo Janczur from Orchard, Kam Kelly from Capital FM’s Kam & Sally at Breakfast, Ryan Day from Attack! Attack! and PLUGGED IN’s own IWA Educator of the Year and Managing Editor Gail Griffiths. The winners then get to perform their song in front of around 6,000 people at Ponty’s Big Weekend which has been headlined by the likes of The Sugababes, JLS and The Wanted! Envirovision is not simply a song competition that encourages young people to be inspired about and to take responsibility for their environment but is also an excellent opportunity for a group of students from secondary schools to gain professional experience of researching, songwriting, recording and performing. This work often compliments what the schools already deliver in their music departments. By asking students to create a song that describes the importance of protecting our environment, this project is a new way of inspiring people to care more about the space they live in. The idea for the

Envirovision Song Quest competition is a Rhondda Cynon Taf Streetcare Team and LearnThruSong initiative, delivered in partnership with the council’s Cultural Services Department. The project was created to provide fun and engaging opportunities for young people to get involved in green issues, stimulated by the following shocking facts: * Only 55% of residents in Rhondda Cynon Taf recycle and yet in one week the Streetcare Team have recycled as much as 697 tons — that’s the equivalent weight of 537 Golf Gti’s! * Twice a day, every day, the UK produces enough rubbish to fill the Millennium Stadium! * It takes a forest the size of Wales to produce enough paper to cover what we use in a year in the UK! * The garbage patch of floating plastic in the Pacific Ocean is five times the size of Great Britain! PLUGGED IN asked LTS’s Geraint Brown to tell us more about Envirovision. “Currently, Theatre in Education (TiEs) companies seem to be the only feasible means of getting environmental awareness into our comprehensive schools. The TiE projects are a good example of how adding a creative element to education can increase the capacity to reach young people aged 11-18. Engaging young adolescents in this age group can be difficult and therefore it is integral that the delivery is both exciting and rewarding. Envirovision will encourage the creative use of music and advertising as a means of getting students to consider and promote awareness of environmental issues.” So on an educational level, how does the Envirovision project engage young people? “Well, mainly by introducing them to themes but giving them the opportunity to learn for themselves. By the student creating an original song and having access to professional musicians the focus is less on the actual environmental issues and more on the process of creating the

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song. But because they have to concentrate on an environmental issue it’s almost a back door approach to highlighting the problems we face and experience.” So you could say that this is teaching and educating by subterfuge? “Yes! And the concept of education through song can be adapted to many different themes, such as History, Road Safety, The Welsh Language and so on. Of course another aspect of this learning through song is that it addresses basic literacy skills, helping the young people deal with such things as rhyme and word formation.” Do you believe that the project gives the young people a sense of empowerment? “One of the key elements of the project is that we don’t treat young people like children, we give them responsibility and ownership of the song. We guide them through the process but it is their work that makes the song process come together.” So what do you think that the students who take part in this process gain and take forward in their lives? “As far as recording and musicianship, they gain knowledge of studio work and the expertise. The writing of the composition helps in all aspects of their learning process, making them think outside the box. Some of students are gradually drawn out of themselves, turning from shy school pupils to brilliant singers on the stage.” Marvin Thomas Head of Music at Y Pant Comprehensive in Pontyclun also told us: “Sometimes it can be quite difficult to build a working relationship with the pupils in the school especially in a subject like music, you really need to get to know the pupils. I’ve got to know the students better in the four or five days of working on this project than I have in the last six to eight months. You really discover what makes them tick, so can identify how to get the best out of them.” So there are many positive aspects to this project, from opening up the minds of young people and driving home the environmental message to helping in personal development. And, of course, using song to spread the environmental message is a much cooler way to approach a subject — similar to PLUGGED IN being a music magazine that has an underlying educational agenda which helps address basic literacy skills.

Alex Rees a tutor with LearnThruSong told us: “As you know, music is a form of communication, young people listen to it all the time. They sing lyrics, the words get stuck in their head and so do the associated ideas which go with that.” So what impact does this project have on today’s society? Nigel Wheeler, Service Director for Streetcare, Rhondda Cynon Taf County Borough Council, explains: “It’s difficult catching and educating young people of the secondary school age group. The Envirovision project was the right approach. They have learned through a medium that doesn’t feel like that they are learning. It’s something that they enjoy and in that process we have won.” And what does that mean on the ground? Well recently Rhondda Cynon Taf Council announced their best ever recycling figures with more residents joining the fight against waste. A staggering 13,230 tonnes of recyclable waste was collected over the last three months with over 50% of all household waste being recycled every month since February. This is the highest ever percentage via the weekly kerbside service and shows the amazing commitment made by residents to reduce, re-use and recycle. Rhondda Cynon Taf Council’s Deputy Leader and Cabinet Member for Frontline Services, Councillor Anthony Christopher, said: “This is such a phenomenal success. To collect 13,230 tonnes of recyclable material from households is such an incredible result. Together we have avoided pouring thousands of tonnes of waste into landfill sites and everyone needs to realise that we all have to play our part to recycle more waste. RCT Council continues to encourage and support people and by running an accessible and innovative recycling service, complemented by ongoing public education and awareness-raising, we are allowing residents to make up their own minds. And more and more people are making the right decision. The Envirovision project is part of this awareness and education campaign, and it is a winning formula.” FOR MORE INFO AND TO LISTEN TO THE SONGS PLEASE VISIT https://www.learnthrusong.co.uk/music-room/project/streetcarerct/albums

AS VOTED FOR BY YOU! Gary Bolsom, with additions from the editorial team, sums up the PLUGGED IN readers and contributors choice of the best and most diverse music that one country can offer to the world. There are 40 albums listed in no particular order, followed by the Top 10. Big 3 60ft Dolls

Songs Of Ignorance Murry The Hump

McLusky Do Dallas McLusky

A natural choice for the welsh operatic legend to do an album solely based on pieces performed by the villain of the opera that Bryn Terfel has become synonymous with. Listening to Terfel’s performance on this album shows his love, commitment and affection for what he creates. Notable track: Epiphany from Sondheim’s Sweeney Todd

Scream, Aim, Fire Bullet For My Valentine Nu metal rocker pump energy at you by the truck load on this loaded gun of an album. Heavy, dirty and full of hard screaming guitars. It doesn’t always have the taste of originality about it but makes up for that with gut wrenching powerhouse songs. Notable track: Hearts Burst Into Fire

Rings Around The World Super Furry Animals This album is big in sound and has all sorts of things happening at any one time, often changing up tempo during songs and introducing unexpected sounds. Some real special moments are found on tracks Receptacle For The Respectable and Run! Christian Run! Notable track: Juxtaposed With U

Just Enough Education To Perform Stereophonics The ‘difficult’ third album may not have packed the punch of its predecessors but is more mature in its content and reaches out to a new audience. An album you can listen to out in the back garden and drift off hypnotically into your own little world. Notable track: Handbags & Gladrags

Generation Terrorists Manic Street Preachers The Manics’ debut, a double length hard rock heavy weight of an album. The combination of their 80s Glam influences (Hanoi Rocks/ Guns N Roses) with their raw punk roots. The pure ambition and determination shines through on this album. Notable track: You Love Us

Travels With Myself And Another Future Of The Left It seemed that the Welsh as of late forgot to rock, we can scream it, thrash it, smash it and bang it and thanks to FOTL rocking it finally returned. You can expect rasping vocals, pounding drums and heavily distorted guitars amongst the many great tracks on offer. Notable track: The Hope That House Built

Radiator Super Furry Animals

Comfort In Sound Feeder

Great tunes with lots of energy and a no nonsense attitude. 60ft Dolls were the pinnacle of Newport’s crop during the Welsh Seattle years. Sounding like ‘The Jam’ full of raw guitar sounds and energy. Having not much critical acclaim this album is truly a hidden gem. Notable track: Stay Bad Boys Bryn Terfel

Psychedelicised progpunk at its best, albeit with a bit of techno and energy, make for a colourful experimental but not pretentious piece of work. SFA had a knack for creating complex melodies and intricate counter-melodies that stuck with you. Notable track: Demons

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From this Aberystwyth founded band came an album full of life and humour, full of hooks throughout. The lyrics on the album take a light hearted view of their Welsh culture, a pleasant change to the usual albums that go about mixing politics and serious issues with music. Indie at its happiest. Notable track: Thrown Like A Stone

After the death of drummer Jon Lee the band was unsure if they should carry on but they persevered. The title track of the album was a befitting song to their lost friend. Summer’s Gone has been said to be Grant Nicholas’ best lryical piece to date. Notable track: Just The Way I’m Feeling

An energetic punk rock record full of guitars and quirky vocals that’s fast, edgy, short and sweet, and means that you are not going to get bored. Moments of The Pixies, Nirvana and The Sex Pistols could only draw in more fans of this genre and with all that being said McLusky still made a name in their own right with this great album. Notable track: What We’ve Learned

Fake Sound of Progress LostProphets From the opening hook of Shinobi Vs Dragon Ninja to the fuel injected scratched rap Nu-Metal closer of Ode To Summer this album ensured that the band would be propelled to the higher echelons of the Welsh music scene and beyond. Notable track: Shinobi Vs Dragon Ninja

Colossal Youth Young Marble Giants

A simple and complexing debut and only album that comes alive with the gorgeous tones of singer Alison Statton labelled as post-punk. Kurt Cobain notes it as being one of the most influential records he heard. Colossal Youth can now be purchased in a special edition coming with a total of 41 tracks! Notable track: Salad Days

Dark Days/Light Years Super Furry Animals The most recent release by SFA was more of a collaborative effort with the band giving off a ‘biblical sound’ according to singer Gruff Rhys. The slow tempo songs are gone but that’s not saying the album moves along too quickly as there is a middle ground with plenty to keep active ears interested. Notable track: Inaugural Trams

Shoulder To Shoulder South Wales Striking Miners Choir/Test Dept Probably the most bizarre pairing ever, this collaboration between choir and the industrial metal bashers was purely created to send its profits to the striking miners of Wales. Listed as ‘a pay no more than £3.99 album’ the sampling production though rough was unique at the time. Notable track: Fuel To Fight

This Is My Truth, Tell Me Yours Manic Street Preachers This album is very different from previous albums by MSP. A toned down incarnation of themselves, this displeased a few followers but opened the doors for many more. Nicky Wire had seemed to take the mantle well off the late Ritchie Edwards but the sound was different. Notable track: If You Tolerate This Your Children Will Be Next

Barafundle Gorky’s Zygotic Mynci This album introduced the band to many people across the world with it being their first official domestically released album but fifth overall. The album gives off a hauntingly medieval feeling and vocalist Euros Childs is at his most emotional. Patio Song is a song to fall in love to. Notable track: Barafundle Bumbler

Mwng Super Furry Animals

The Storys The Storys

Y Baledi Meic Stevens

Sir Elton John picked these guys to support him on one of his tours after listening to this debut so that’s a quality written album stamp right there. Full of ‘americana’ hooks filled with perfect harmonies brings on a natural description of the Welsh version of The Eagles or Fleetwood Mac all with the Bon Jovi type of singalongs. An album that plays while you pleasantly watch the world go by. Notable track: I Believe In Love Lost Art Of Deception Killing For Company Not only a screaming rock masterpiece that breaths pure passion into the air, but the final work of the late great Stuart Cable. This album proved that he had a right to his place as a drumming legend and with great guitar work and singing in tow, kicked his Stereophonics sacking legacy into touch. Notable track: Former Mining Town Visions Of A Runic Jam With Robina

The Pontypridd boys’ first self-released album is a beautifully melodic work of art. Crafted to perfection through every note and distinctive harmony this is a must for every laid back and chill person on the planet. Bizarrely, they have never been picked up by a major label, though their time must surely be now, with the release of their second outing Dark Recollections. Notable track: ELC

Meic Stephens is relatively unknown outside of Wales, but Y Baledi is a collection of folk songs that charts the natural progression of his sound. His influence can be seen in Welsh bands like Super Furry Animals and Gorky’s Zygotic Mynci. Notable track: Y Peintiwr Coch Across The Water Kooga

This relatively short 8-track album packs a punch with its relevant 80s synth mixed with the distinct guitar sound made synonymous with rock bands of that period. Unfortunately soon after the release of this album their record label went bust leaving the band in disarray and ending up being the only album release by this underrated band. Notable track: Don’t Break My Heart Os Mewn Swn Huw M

From the relatively new Huw M comes an album with a perfect mix of traditional Welsh folk songs and original material. Quite a jolly sounding album for a folk record helped along with the odd appearance of the ukelele and accordion. Sometimes listening to an album that you can’t understand the words to mostly works out as a good thing as you can appreciate the music more, and this album is a fine example of that. Notable track: Hiraeth Mawr A Hiraeth Creulon

Recorded entirely in Welsh this album may have been a risk, however, the music shines through on this low-budget production and their fans respected them for such a bold move — as if they didn’t need it! You’ll find many people the world over singing to this little gem without a clue what they’re singing about! Notable track: Ysbeidiau Heulog The Betrayed LostProphets

The most recent album for LostProphets proved quite difficult in making, after reportedly spending nearly half a million pounds before the band decided to start over again feeling that the album just didn’t work. This is LostProphets as they wanted to sound like without any outside influences of record labels and such. Notable track: It’s Not The End Of The World But I Can See It From Here Defaid, Skateboards A Wellies Anhrefn Anhrefn were strictly a Welsh language punk band who had an influential buzz about them at the time in the Welsh music scene — and that was down to this debut. A rare collectible that would be a treasured item for many 80s punk fans. Notable track: Defaid Spanish Dance Troupe Gorky’s Zygotic Mynci Gorky’s still doing what they do best — mixing pop/folk with psychedelia and wacky sounds, notably on the song Poodle Rockin. Again showing their most beautiful side in the song She Lives On A Mountain. This is one of those albums that takes a while to get into if you can get your head around it but when you do it will be hard to get the magic out of your brain. Notable track: Spanish Dance Troupe

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The former Gorky’s Zygotic Mynci frontman’s first solo outing is a truly fun outing with hints of charm interwoven with synth friendly pop. Variety is the name of the game with rockers like Hi Mewn Socasau to the surreal disco foot tapping Donkey Island which borders on the kitch, all held in place by Childs’ echoing voice. Notable track: Costa Rita

Tales Don’t Tell Themselves Funeral For A Friend The third studio album from FFAF is filled with atmospheric and uplifting tunes, and is the band’s most mainstreamfriendly release. It’s also a concept album that tells the story of a fisherman trying to get back home to his family, told through a series of heartfelt rock songs sung beautifully and played to perfection. Notable track: Into Oblivion (Reunion)

Believe Katherine Jenkins

Reload Tom Jones

Chops Euros Childs

With a broad mix of contemporary and traditional songs on this album, Jenkins not only delivers for existing fans but is also aiming at a global fanbase. From the haunting Sarah McLachlan song, Angel, through to a stunning working of Evanescence’s Bring Me To Life, the mezzo soprano’s unique vocal interpretations bind seamlessly with the musical arrangement and production. Notable track: Bring Me To Life

With a dazzling back catalogue it would be easy to listen to any Tom Jones album, but this one is a runaway winner. Featuring collaborations with the likes of Stereophonics, Cerys Matthews and James Dean Bradfield it’s crammed with famous names and famous tunes. It’s the album that relaunched Sir Tom’s career onto the pop world — and he hasn’t stopped since! Notable track: Are Ya Gonna Go My Way

Not Accepted Anywhere The Automatic The first long player from the boys from Cowbridge was a true mix of rock pop with annoyingly fantastic screamy man backing vocals thrown in for good measure. A hit after hit album that pushed them up to the dizzying heights of stardom at a very fast rate, leaving them to fall back down when the hits dried up. Such a brilliant and unique album you beg to ask why things went wrong for them. Notable track: Monster

Diamonds Are Forever (The Remix Album) Shirley Bassey This remix album is just simply a masterpiece. Sympathetically created to emphasise Dame Shirl’s voice, the remixers have accessed vocal master tapes and simply added brilliant percussive and musical additions to her classic tunes. Groove Armada, Kenny Dope and Propellerheads are just three of the 10 geniuses who worked on this. Notable track: Spinning Wheel remixed by DJ Spinna

Vegas Martyn Joseph

Vegas is probably singer/ songwriter Joseph’s most complete and rounded collection of studio songs ever, less rooted in the UK following the trail over to America as the title suggests. He creates a delicate atmosphere while picking at his acoustic guitar driving home his edgy and fragile songs highlighting the beautiful lyrics. Notable track: Fading Of Light

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Liberation Transmission Lost Prophets This was the Prophets at their most wilfully commercial and radio friendly. And this, the most guitar driven album executed by the band, churned out hit after monster hit. A Town Called Hypocrisy, 4:AM Forever and Rooftops among them — the latter being one of those songs that just makes you want to scream your heart out. Notable track: Rooftops

A Crow For Every Crow Jones O’Connor Group A classy jazz album made by someone from Wales is not something you are going to hear every day, but it is what it is. What makes this album special is its replayability, you could easily focus on one instrument throughout the album and get into the jazzy groove that gives itself up for you, then listen again! Notable track: Pumpkin Babylon Skindred

If someone says that Welsh music is unoriginal then tell them to listen to this album to change their outlook. rap, reggae and metal are fused together that makes the word ‘original’ seem...well, unoriginal! An aggressive and lively debut album. Notable track: Pressure Mentalenema The Abs

Mentalenema was a fun punk classic album — great tunes, fun lyrics and pre-dating Green Day’s entry into the mainstream by only a few years. Full of wit heard in Toes Stamped Flat, charm and most importantly...power chords! Notable track: Popular In Bradford Fragments Of A Rainy Season John Cale All of John Cale’s best material on one album... and live! All taken from his live recordings during 1992. Also includes a cover of Heartbreak Hotel and considering the lyrical content of that song Cale created a piece of music that fits it well. A fine moment is a cover of the Leonard Cohen classic Hallelujah that so many have butchered in the past but Cale’s is up there with Jeff Buckley’s version. Notable track: Paris 1919 Know Your Enemy Manic Street Preachers A mix of old and new MSP here with the return of the nihilistic and political approach to the lyric content, while going in all sorts of directions with the music even venturing off into a bit of disco. Nicky Wire has a debut on vocals and Ocean Spray is a sole songwriting debut for Bradfield. So an album of many firsts for MSP. An album that pleased fans old and new. Notable track: Let Robeson Sing

Word Gets Around Stereophonics This album spoke to many teenagers in the valleys of Wales and beyond. The debut masterpiece is Kelly Jones at his best vocally and lyrically, so many fine examples of wordplay and realism. Local Boy In The Photograph has been described as The Stereophonics at their best...but in fact many moments on this album has at one point or another been described as their best. Voted for by PLUGGED IN readers in your droves! Notable track: A Thousand Trees “The first and still the best, stands up to the test of time and a great singalong!” Carwyn, Swansea Valley “Probably one of the finest debut albums of all time, well crafted songs and completely timeless.” Jared Owen of Amped Wales

Everything Must Go Manic Street Preachers After the sad loss of Richey Edwards some of the hardcore fans didn’t take too well to this release as it wasn’t the vision he’d had for the band, but a change in direction asserted MSP to critical and commercial success. Half the album was written by Richey so had the trademark Edwards’ lyrics and in places you could feel the band’s pain at the loss of their friend, especially in the lyrics of Australia. Notable track: A Design for Life

Fuzzy Logic Super Fury Animals This is another one of those albums that didn’t do too well commercially but is a regular in best albums of all time polls. SFA has always been one of those bands that takes a detour off the same old beaten track by producing songs that stick in your mind, all the while being original and like nothing you have heard of — making this a very colourful album. Notable track: Something 4 The Weekend

Band Of Brothers Only Men Aloud The triumphant winners of Last Choir Standing and Classical Brit Award winners released this second, more accomplished album. Mixing traditional opera tracks with some more modern tunes, the musical arrangements are sublime and unique with the voices being pushed in amazing directions to gain those all important harmonies. One of the best voices albums ever. Notable track: Total Eclipse Of The Heart, featuring Bonnie Tyler

Tough choice between this and ‘Generation Terrorists’. Just edges it for lyricism and melodic content, epitomised by ‘Design For Life’. Mike Jenkins of Celyn Magazine

The reason why ‘Fuzzy Logic’ to me is considered one of the greats may be because upon discovering this debut I realised that there was a whole new world of kaleidoscopic music out there. Gary Bolsom

Only Men Aloud have taken the male voice choir and tipped it on its head — they have made being in a choir cool and this album proves why. Anthony Lloyd

International Velvet Catatonia One of the biggest selling albums of its year, title track’s chorus is one of those moments of feeling Welsh pride and patriotism. Full of catchy numbers and Cerys Matthews’ unique vocals being on top form propelled this album to the masses and rightly so. Notable track: Road Rage Was tempted to go with ‘Equally Cursed & Blessed’, because ‘Nothing Hurts’ is on it, but overall ‘International Velvet’ was probably a better-balanced album. Iestyn Henson

Start Something LostProphets

The second and most powerful album from the Prophets that sent them spinning into the stratosphere. This was the album that made the difference of combining hard rock etiquette with a distinctive softer side while still retaining complete credibility without the rock bombast. Strikingly simple songs but done with hard Valleys boys panache, if there could ever be such a thing. Notable track: Last Train Home

“Every day, when I wake up I thank the lord I’m Welsh” Enough said! Carwyn, Swansea Valley

The Prophets led the way for a new wave of Welsh rock — this album epitomises that. Louise John

‘Holy Bible’ is far from easy listening, but like experiencing Picasso’s Guernica, it’s absolutely compelling. Gus Payne

The piledriver drumming on ‘Streetcar’ from this album is just amazing. Geoff Sawers

The Holy Bible Manic Street Preachers If you were a hardcore fan of the Manics then you are probably going to regard this album as their definitive piece of work. Thought provoking lyrics provide inspired and meaningful content. Although not being a commercial success it was a global critics choice. Usually sitting in the top half of ‘most greatest albums of all time’ polls and deservedly so. The Manic Street Preachers in their rawest form. Notable track: Faster

Hours Funeral For A Friend FFAF’s second outing introduced a more melodic appeal to their music than the less easy listening Casually Dressed & Deep In Conversation while maintaining that screamed rock element that was removed from Tales Don’t Tell Themselves. Sitting on the fence it embraces them both on equal terms making it accessible but carrying a vicious bite. It’s a precarious place but FFAF ruled the world with this excellent album. Notable track: History

Guerrilla Super Furry Animals The group that can boost the most number of votes for albums overall (albeit with different contenders) gains another entry into the Top 10 with their first real stab at the commercial market. Guerrilla took their cosmic outlook on life and sent it into overdrive with an amazing array of pop classics. Never a dull moment in SFA land and the vibe on this album proves it, though maybe too much as they caused commercial implosion with their next album Mwng. Notable track: Northern Lites Cosmic greatness from the only truly original band to have come from Wales. Their fusion of styles and mix of techno and classic indie pop put them far ahead of the bunch. Rose Edwards

We Are The Dynamite The Blackout Life would be a dull place if The Blackout didn’t exist and their first full album proved that what they played live could perfectly transform over to the CD. Anarchic rock with the duelling voices coming at you from your speakers, this was created to be played very loud. Their energy is boundless as is the humour in the songs they produce with titles like I’ve Got Better Things To Do Tonight Than Die and Spread Legs Not Lies. Notable track: It’s High Tide Baby This album is a music version of Merthyr Tydfil. Hard, fast and a real sh*t-kicker. Leigh Jones

In this Live Reviews section there are 24 jam-packed pages for you to enjoy reading about the gigs big and small that have been performed in Wales over the last few months. If you want to see your words in print or get your band reviewed in the next issue — due for publication in December — send us an email: editorial@pluggedinmagazine.co.uk

Eric Clapton

Motorpoint Arena, Cardiff My ticket had been burning a hole in my safety deposit box (yes I have one for such treasured items!) after having them for six months. The moment finally came when I could redeem it to see an icon, a guitar god...a living legend. I was fortunate enough to get tickets for centre stage, four rows from the front which meant I could have grabbed ‘blackie’ and riffed out to Layla but thought it would be best left for the master. First and foremost Clapton is a performer, no time for ramblings, joking and political messages, he just gets right down to the point and plays his music and does it in such fine detail. Having read his autobiography I realised that this wasn’t going to be a ‘get to know me’ session as EC is a very private person and I respect that, this also means that his full concentration can go into delivering a night to remember. Being so close to the stage most of the gig I was just mesmerised by his intricate fingerwork on the fretboard. Throughout the gig Clapton would take a step back out of the light and give the front stage to another member of his band to wow the audience and it was evident why they are in his band. Clapton played a few of the classic covers he is known for, such as Hoochie Coochie Man, Before You Accuse Me, as well as the legendary I Shot The Sheriff. Obviously the standout moments were the ‘Clapton Classics’ such as Badge, Wonderful Tonight and Cocaine, all played with that feeling of freshness of new blood albeit by what can be unofficially called an OAP at the ripe age of 66! One nagging disappointment that I had was when Clapton went into Layla. EC decided to play the infamous acoustic version which I absolutely love — but when given the chance to hear Layla live most people are going to opt for the 7-minute-long epic, you know...the one with the riff! Many air guitar moments have been had with that one! For me though the standout moment was when EC covered the late great Gary Moore’s Still Got The Blues in an acoustic style, which was a stunning tribute from guitarist to guitarist. And closing track Crossroads is also one of those tracks to see live, and unlike with Layla he didn’t disappoint. It is one of those Robert Johnson classic songs that everyone has heard somewhere or another and a track that has done so much for the blues, EC always does it justice and did so again on this occasion. The only way to end a fantastic night! GARY BOLSOM

We Are Scientists Solus Bar, Cardiff

Before the American indie rockers took the stage, 4th Street Traffic and English Frontiers nicely warmed up the crowd. So when We Are Scientists arrived on the stage the crowd erupted — a mutual feeling of joy gushed through the crowd as their eyes lit up with happiness as WAS opened their set. The banter between guitarist Keith Murray, and bassist Chris Cain added to the joyous yet exhilarating atmosphere that had settled in the room. It was tracks such as Chick Lit and Nobody Move Nobody Get Hurt that really got the crowd jumping. The sound pulsated through the bodies of the audience, each as mesmerised as the next. It was also interesting to see ex-Razorlight drummer Andy Burrows in his new outfit (other than solo project I Am Arrows) and how he would cope in this new style. His tremendous talent really showed as he blasted out other classics such as Rules Don’t Stop and It’s A Hit, suggesting how diverse and well adapted he can be for any role he is given. It almost felt like he had helped create the tracks in the first place, due to the gel that all the members had on stage. Set closer After Hours was the real pinnacle of the night. Their biggest hit, when the crowd was at its most excitable, equaled the perfect musical experience. It was pretty clear to see that We Are Scientists are a well oiled machine, and even when new parts are needed, they just keep on steaming ahead of any competition with their delightful live act. SAM GRIFFITHS

PLUGGED IN

Take That The Pet Shop Boys

Millennium Stadium, Cardiff It was going to be one of those concerts that could be notched up as an experience. What I mean was, I didn’t really list the band as one I wanted to see but as I had the chance to go, I might as well. I had bought the tickets to the Take That concert at a charity auction as a gift to Gail, who loved the fact that Robbie was back with the group. The Millennium Stadium was packed and the roof was open letting in the cool evening air as the Pet Shop Boys in a supporting role opened the show. Yes, I reckon they had come to Cardiff after reading my review of their album in Issue 7. Thumping straight into Heartbeat Neil Tennant strolled about the stage in a oversized bowler hat while Chris Lowe fiddled with his keyboard wearing dark glasses and a mirror-adorned jacket. This was a hits show and they came quickly in succession. Love Etc, followed by Go West. As You Were Always On My Mind was performed, dancers jumped around the stage wearing brightly coloured boxes on their heads which was strange and slightly out of place — except this was a Pet Shop Boys performance, so life seems slightly left of centre to them. The show was rounded up with Left To My Own Devices, Surburbia, Viva La Vida, It’s A Sin and, of course, the classic West End Girls. The performance was entertaining though at times static, but what it lacked had started to worry me. Because even though the Pet Shops Boys’ performance was good, elements of it had been lost within the vacuous arena where this concert was based. I hoped that Take That could fill the space with the wall of sound that was needed. The time was 8.15pm and suddenly they were there — the mammoth stage burst into life as Gary, Mark, Jason and Howard took to the stage to Rule The World, jets spewing out yellow confetti high into the stadium air, the crowd roaring their approval. The stage protruded into the arena and the boys made use of it throughout the night, starting with second track of the night Greatest Day followed by Hold Up A Light and Patience after which they all disappeared and we were treated to an elaborate spectacle of costumed dancers. Then they were back on to sing Shine, with Mark balancing on the back of a large caterpillar and Gary playing a Dr Zeuss style piano — a bit Alice In Wonderland crossed with Sergeant Pepper. This was Take That doing Take That as a four-piece show which was good enough, but then the foursome stepped through a screen at the back of the stage and morphed into a film of themselves to introduce the missing fifth person — by Gary singing a reworded rendition of The Beatles’ Sgt Pepper’s Lonely Hearts Club Band: “Robbie Williams and the Take That Band...” Cue Robbie Williams to appear to the waiting 64,000 people — and did he do it in style! Jumping down from the top of the set on a thin wire, he exploded onto the stage in his usual cocky way belting out Let Me Entertain You. The audience went wild, so much so that one woman took her top off — which had the cameras and every man in the stadium other than the object of her affection focussed on her boobs! Robbie lapped up the adoration, and roared his way through hit after hit. He rode around the stage on a chariot during Rock DJ, ripping his trousers in the process, and flew above the crowd on a cable car while singing Come Undone, reaching down to the audience below him like some royal king before singing the song everybody wanted to hear, Angels. He finally left the stage, but not before dropping his damaged trousers — much to the joy of many of the women present. This was a different concert completely and showman Robbie proved why he had left the band in the first place, to really shine. Then the concert changed again and the Progress Tour truly began as water cascaded down the set while all five sang The Flood. The Take That five-piece flowed effortlessly through the songs on the collaborative album, doing renditions of SOS, Underground Machine, Kidz and Pretty Things that were much punchier and stronger performed live than the recorded versions. Throughout the show, we had glimpses of what was to come as a giant 60ft robot was revealed and moved about the stage. The guys sat in its hands, stood on his chest and as they made their way to the finale of the concert, after singing classics like Back For Good, Pray and Relight My Fire, the massive metal man actually stood up, arms outstretched in a huge welcoming gesture. The show ended with Eight Letters, the final track on the Progress album and I don’t think the best choice as it was too slow for a finishing flourish. I can forgive them that though as it was a brilliant show — Take That did fill the stadium with sound, and most of Cardiff outside its walls. Which just proves that you don’t have to be a rock act to be immense and rule the world. DARREN WARNER

Kylie

Motorpoint Arena, Cardiff We like music in our house, there’s always music playing — in the kitchen, in the living room, in the bedrooms — wherever you go you can sing along to something. One of those ‘somethings’ has been Kylie’s Aphrodite album, as it’s a firm favourite with my girls who know all the words to all the songs. So when I was lucky enough to get two last-minute tickets for the Aphrodite — Les Folies tour, I just had to take my 10-yearold to see the Pop Princess in action. Support came from The Ultra Girls, whose set was upbeat, fun, fresh and poppy, and rounded off with debut single Girls Will Be Girls. During their performance we could see most of Kylie’s stage set and waited eagerly to see it fully as we’d heard rumours about the show’s extravagance. It wasn’t long before the lights went down and all was revealed — a spectacular musical and theatrical event, with a Greek mythological theme! Kylie’s entrance to the stage was hugely impressive — dressed in an ornately golden toga, she rose as a winged goddess from beneath the stage in a golden shell, singing of course Aphrodite, for the start of one of the greatest shows I’ve ever seen. When she stepped from the shell she was immediately flanked by

elaborately-dressed dancers, who had as many costume changes as Kylie herself! She may be tiny, but she was captivating — blasting out song after song: The One, Wow, Illusion, I Believe In You, Cupid Boy, Can’t Get You Out Of My Head, Looking For An Angel, Closer, Put Your Hands Up and more. And all accompanied by a supporting cast of flamboyant dancers, synchronised swimmers, aerial performers and acrobats, which just added to the sensory extravaganza that also included 30-foot high water jets, fountains and a rain curtain! She sang while being pulled around the stage in a golden chariot, she sang sitting astride a golden pegasus, she sang on a slowly-rising turntable, she sang flying through the air on the back of an angel! It was an eye-boggling show that culminated in her coming back on in yet another amazing costume, to perform a two-song encore of On A Night Like This and All The Lovers, which saw all the elements of the show brought together for a fantastic finale that brought the curtain down on a breathless two-hour show. We had been lucky lucky lucky to have witnessed such a spectacle from this great entertainer! GAIL GRIFFITHS

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Interview by Victoria Roper, Jazmin Williams & Josh Richards Photographs by Darren Warner

As we at PLUGGED IN are always ready to set our students a challenge, for this issue we decided to deliver a workshop in both review writing and interview question techniques. The students then had to overcome any nerves and ask these questions to Amy Wadge, one of the country’s most successful female singer/songwriters. Amy has notched up seven albums to her name including Woj, No Sudden Moves and Bump, the last written around the time of her pregnancy with her second child! She has twice won the Welsh Music Award for best Female Artist and is married to actor Alun ap Brinley. Recently she has teamed up with Pete Riley, a singer/songwriter from Liverpool with an international following to create the sublime River’s Apart album. It was towards the end of the ‘Don’t Go To Bed’ tour which was promoting the album that we and our students caught up with her at the Muni Arts Centre in Pontypridd What influenced your own musical style and the lyrics you write? I have been influenced over a number of years by a wide range of music and musicians. My dad was a massive music fan so when I grew up I listened to people like Pink Floyd, Joni Mitchell, James Taylor, Elton John, and so on. Dad was a big influence on making me love music but now with my radio show on Radio Wales I get sent so much stuff that I just constantly hear something new which I get captured by, so in a way I’m being influenced by music all the time. Where is your favourite place to play? Wales definitely — and I’m not just saying that! I’m not from Wales originally, I’m from Bristol and I moved here about 14 years ago. But the second I moved here my career kind of changed. I was signed to a label when I lived in Bristol when the scene was quite cool with bands like Massive Attack and Portishead and I was never going to fit, so when I moved here I found a place that seemed right for me and my music and everybody wanted to hear the music I played. So, like now, coming back and playing in Wales is always the pinnacle of the tour for me. How did you get involved with working for Radio Wales? It’s a mad, mad story. I was asked to cover a show for Ray Gravell who was a famous rugby player and broadcaster, and who unfortunately was poorly. So I did a show with Frank Henessy and the next week they asked if I could come in again as Ray was still unwell and this went on for about six months. The week that we were supposed to hand the show back, Ray passed away. He had a massive funeral, over 10,000 people attended, so when they asked if I wanted to carry on I wasn’t sure If I could replace such a man. But Frank insisted and said he wanted me to do it, so I carried on and the show became Frank & Amy. It was a mad way of starting the show but I absolutely love working for Radio Wales, it’s been one of the highlights of my carer getting that job. Why did you initially choose to study at the Royal Welsh College of Music & Drama? I had a record deal between the ages of 14 and 16 and the company I signed to went bust. All my friends were going off to university and I wasn’t good enough to do classical music and there was no pop music course at that time, but the other thing I loved to do was act. So I decided I wanted to go to drama school. Initially I went to a drama school in London, hated it and dropped out, then reauditioned at the Welsh College and got in. I loved it there, met up with my husband after working on a play together and stayed in Wales to live and work. I stopped acting after about two years, despite having a role in the cult BBC Wales series Belonging, and went back to music which is my first love.

What made you commit your life to music? I had no choice in the matter. Anyone who chooses to do this as a career knows that music can be your best friend or your worst enemy. But I love music and I love playing. Obviously it has its down side. I haven’t made it to super stardom so life can be quite a hard slog at times. And I become a demon if I can’t play, like around the time I had my children, because I don’t feel like I’m living a happy life. I have to do it. How do you balance your career and motherhood? Ask me next year, this one has been mad! This is the first major tour I’ve done since I’ve had my kids, and Nel is only six months old, so I don’t know what I was doing when I agreed to do it. But I have an incredible network of friends living in Church Village who help me out and my husband is incredible and supportive. Being an actor working on Pobl Y Cwm he is used to juggling stuff around , so we’ve been able to make it work — just about. Today is a good example as the kids had to come to the sound check! Do you think that teaching songwriting skills could help the poor standard of literacy levels here in Wales? I think that songwriting is a key tool to use to get people engaged in a subject that they probably wouldn’t be interested in. I do a lot of work in a Category A prison in Buckinghamshire dealing with lifers where I had to go in on a level that wasn’t going to make them intimidated by the fact that it was educational, talking on a level that they understand. Dealing with rap or music that they like meant that you were engaging them on a level where they would react in a positive manner, without thinking that they were stupid or such like. I dealt with guys who couldn’t read or write but could rap really well. Music is a great leveller, no matter what your ability, whether you’re from a rich or poor background, everybody has songs that they love. Music is a good way of connecting. What is it that draws you to a song that makes you want to cover it? I don’t cover many, but if I choose one it tends to be the least obvious one that people would expect me to cover. I would suddenly get struck that a thing wouldn’t that be great if I broke it down to basics and did my version of it. I’ve done one by The Smiths, I’ve done a Manics cover but most of the covers I’ve done have been accidents, just mucking about in a studio and just doing it and thinking that’s quite cool. How did the opportunity with Pete Riley come about? Pete and I have known of each other for a long time. He spent 10 years in the States writing for people like Miley Cyrus but wanted to come back to his family. He and I met and we

were going to write for other people, but we just clicked. It was this mad moment when we said let’s go on tour as a duo. What is it about Pete Riley that made you want to works with him on Rivers Apart? Everyone says he’s like the male version of me, which is true as we are very similar. But Pete has this mad energy about him with songs coming out from him everywhere. I’ve never met anyone who has the ability to pick up a guitar and just play it again and again and again and come out with so much musical material. We are both from the same place, we do it because we love it. A rare thing. As a solo artist, how do you go about working in a partnership? The only way you can do it is by being totally up-front and honest, literally splitting everything straight down the middle leaving your ego at the door. I’ve worked as a solo artist for a long time so in some ways it’s quite hard, but in others it’s nice because there is someone to share the experience with you. It’s quite lonely being out there on your own so I’m quite enjoying the experience of being part of a double act. Which do you prefer, solo or collaborations? They are two totally different animals. Right now I’m going to say the collaboration because I love it but there’ll be a time when I’d like to do just one gig one my own, but right now I can’t see me changing these circumstances. I just love working with Pete so much, it’s friendlier, nicer to work with someone. So yes collaboration if the truth be told. Will you encourage your children to become musicians? No! (lots of laughter) Probably not. I wouldn’t discourage them but I won’t be pushing them into a music career, and neither would my husband push them to act. We both know that it’s pretty hard work and also hard on the parents to watch the criticism. So I kind of hope that they both do proper jobs. What does the future hold? Just to carry on working and giging, I do a lot of writing for other people and have some artists breaking now which is exciting. It’s great to be working with other people who are out there and probably going to go further than I ever have like Ed Sheeran. I’ve written for Danii Minogue and Marti Pellow and a few grime artists as well as a bit of TV writing for some Welsh language shows, and I’m sure Pete and myself will look to do another album together and hopefully more broadcasting as well. So really I don’t say I hope to be in such and such position this time next year, I just hope everything can keep going and I’m well enough to keep moving forward. To buy River’s Apart visit www.amywadge.com

PLUGGED IN

Amy Wadge & Pete Riley As part of a recent PLUGGED IN Interview Techniques & Review Writing workshop, I had been given tickets for this show in The Muni. The hall had been arranged in an intimate setting for the performance, with tables filled with fans and friends of Amy Wadge and Pete Riley, all eagerly awaiting the pair’s performance. When I had first listened to Amy Wadge as a solo artist on her Myspace page, I’ll admit she wasn’t my usual cup of tea but there really was no denying the talent this woman possesses — and Amy’s abilities are only made better by those of her music partner Pete Riley. With Steven J Preston as the support act the atmosphere in the Muni intensified as his set went on. Involving the audience with a little sing along and with a set that reminded me of Billy Joel, he warmed the crowd up nicely. Walking on stage Amy and Pete received a few cheers and a round of applause from the audience. Everyone seemed very excited for the duo’s gig and with Amy Wadge saying that they’d had “more than a few red bulls” and that we would be “in a rave by the end of the night” you could tell the performance was going to be lively. Amy and Pete had originally got together to write some songs that they were going to give away but later decided to keep and then eventually produce the album Rivers Apart. Family and friends often say the pair are carbon copies of each other. Kicking off the night with the amazing song Wasted Days, the musical chemistry between Pete and Amy was clear for all to see and hear. Their vocals on all the tracks performed blended well together, and with the lyrics obviously holding significance to their lives their own emotions seeped through. Amy may be small in stature but she has a voice and personality that could rival the best in the business, her vocals are soft and soulful but rugged and raw in some places. Pete seems quiet and reserved but he more than makes up for it with an amazing performance of the first song they wrote together Easy On Me. With their lyrics being influenced by their children and partners it isn’t surprising to see how engrossed they both are while they perform. Although most songs are about break ups Amy states her and Pete are both happily married, she just uses her friend’s experiences to write her songs. After taking a break due to having her second child Nel, who is the inspiration for the song Hurricane, it’s obvious that Amy is happy to be back on stage, performing to an adoring crowd and telling us “touring is an amazing way to lose all that baby weight!” With 12 songs done and dusted, the last of the lot being a thank you to her actor husband Alun, the duo leave the stage. After a massive round of applause from the audience Pete and Amy run back on stage claiming that they didn’t want to leave it too long for the encore — they’d done that once and everyone had left! Playing the title track Rivers Apart the love and appreciation the pair have for their music and fans is clearly shown. Everyone at the Muni experienced what can only be called one of music’s greatest duos and a set of clearly exceptional music. I wouldn’t hesitate to see Amy Wadge and Pete Riley again, I strongly recommend that anyone who has the opportunity to watch the magical set should snap it up! VICTORIA ROPER

Last April I was lucky enough to be able to attend Amy Wadge and Pete Riley’s gig as part of a PLUGGED IN workshop. I had never really heard of Amy before, so I was curious as to whether I would like her music or not. It turned out that I really enjoyed her music and the whole night was really enjoyable. Sitting in the very hot hall filled with round tables, there was a light smell of alcohol in the atmosphere. I sat towards the front with some others and applauded as the opening act, Stephen J Preston, took to the stage. The red lighting in the hall dimmed down and a spotlight lit up the stage where Stephen was sitting with his keyboard. He introduced himself and played a few songs of his own such as Change Like The Weather, which had powerful lyrics and was upbeat, and Diamonds, which was slower paced and written for his two sons. I found it really nice how his loved ones inspired his lyrics. He also got the audience involved by singing along to his song Walking In That World, which was a bouncy sort of song. After Stephen finished up, there was a short break before Amy and Pete took to the stage. Everyone applauded loudly as the spotlight shone down where Amy and Pete were standing. They introduced themselves as they tuned up their guitars and began the evening with their first song called Wasted Day. I thought this song sounded very country and their voices were really strong, harmonising really well together. After the song, they mentioned their UK Tour and how it was almost to an end, so they were “pleased to be here as it was like being home.” They continued the set with songs such as Always and Easy On Me. Then Amy spoke about her daughters being mischievous and how much she loved them, explaining the next song was related to one memory of her younger daughter which was called Won’t Go To Bed. I could really see where the lyrics in the song related to the story she had told us before performing it. Again, both Amy and Pete’s strong voices harmonised wonderfully. I really liked this song because it had a good story behind it and I enjoy songs which are inspired by the artist’s loved ones. Amy and Pete continued to entertain the eager crowd with more songs from their new album as well as old favourites. A highlight for me was Slow River which had a superb harmony to it and was a really memorable song. Introducing the next song, Amy told everyone about her radio show, Frank & Amy, and then performed the most-requested song on her radio show — a track she had written called Shattered. It was a really beautiful and calming song which I loved. Throughout the night, Amy switched between playing guitar and keyboard for different songs, showing how talented she is. I quite liked that effect as it was a change from just hearing guitars alone. After playing a few more songs such as Would You Dance With Me, Hurricane, which was for one of her daughters, and involving the audience in a song called I Do, Amy and Pete finished with an encore of two songs, Rivers Apart, which is the title track of the latest album, and My Man. Both songs were strong and really powerful, and a beautiful way to end a great show. I really enjoyed the whole night and it’s taught me to open up to listen to other genres of music as you never know what you might find you like. I really appreciated all of the music they played, even if there were a few songs that were not what I would listen to normally. I think both Amy and Pete did a really good job on both performing and writing the songs. If I ever have the opportunity to see them live again, I would say yes in a heartbeat. JAZMIN WILLIAMS

Black Spiders

Unified Festival

Another beautiful sunny evening in the capital, and another rock and roll riot tour invasion came to the big city. This time, Black Spiders came with the intention of melting faces off with their rock in the capital. First up were local guys Dead Radio, getting the show off with rock stripped to its purest form. No fancy gimmicks or sound, just music inspired by classic rock bands such as Thin Lizzy, Def Lepard and Guns ’n’ Roses. Good humoured rock ’n’ roll, refreshing to hear with all the guys smiling and enjoying their time on stage. Next on were a band tipped as ones to watch by many in the industry, Japanese Voyeurs. A 90s grunge sound brought up to 2011. What the UK rock scene is missing is a traditional rock and roll band which has the quality to make them relevant into today’s scene. Black Spiders are that band which the scene has craved so badly. All the band performed as if they just had the charger plug removed, as the energy displayed was fresh. Even the drummer climbed onto one of the amps when he wasn’t needed, and moving his head with a sadistic smile in time to the rhythms he was producing. Drawing influences from the best of the genre, such as the guitar punches from AC/DC, the showmanship of Kiss (to which I suspect the song Kiss Tried To Kill Me played a massive influence), the image of Led Zeppelin amongst the genius of Lynyrd Skynyrd. Combining all this to make a Frankenstein sound, unique but not ugly, you get rock and roll pleasing noise, that’s loud and proud bucking the trend of being scene. This is the sound of a group of mates playing for fun, and loving every minute of their success on stage. Black Spiders give you a very enjoyable night that everyone who loves rock music has to see at least once in their life. RITCHIE SAMUEL

As we arrived late to the Unified Festival everybody was piling out of the building. It seems that Before The Escape’s set was too hot for the college to handle and the fire alarms had been set off. Still, they went back on to provide us with excellent renditions of songs like Castles before Cuba Cuba took on the mantle. The boys rarely disappoint and tonight was no exception despite the sound quality in the venue. I had been in e-correspondence with James Kennedy of Kyshera for quite a while, finally meeting him face to face at an event only a few week previously and never actually seeing the band play live. Everybody had recommended them to us and tonight Gail and I were finally going to see what all the fuss was about. What we witnessed was one of the best live acts that I believe I have ever seen. They were powerful, tight and brilliant musicians. Add to that the fact that James’s voice was phenomenal, and I didn’t know how to show my admiration for the band. I’d been listening to the album Paradigm, but the live renditions of Lust, The Servant and Coalition were crushingly amazing pieces of rock genius — in fact, I could say that about the whole set. This was music that had been well considered and was making a statement. Loved them. Now if that wasn’t enough, headliners for the night were Killing For Company. This was the first time we had seen them live since the death of Stuart Cable and they seemed to have got rockier and louder. The set was excellent with renditions of Backstabbing, Former Mining Town and Saved. Nothing was lacking in their performance so we wait with baited breath for the next album Greg said was in the making. DARREN WARNER

Muni Arts Centre, Pontypridd

Clwb Ifor Bach, Cardiff

Merthyr College

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The Keys

The Globe, Cardiff

Thomas Truax, Victorian English Gentleman’s Club, Francesca’s World Salad Norwegian Church, Cardiff

Cardiff Bay’s Norwegian Church was the setting for what transpired to be the strangest, yet most entertaining evening of my gigging history. Undoubtedly the prettiest venue in the city, the multitude of encircling windows provide a lovely panorama over surrounding waters while a tiny room and high ceilings make for great acoustics and an intimate feel. A close to perfect beginning to the night hosted by Cardiff promoters Swn. So what was weird? Let me share... Francesca of Word Salad fame is more entertainer than a musical act. Guitar is played but songs aren’t sung, her style is more one of musical spoken word, and the words spoken are odd. Macabre tales of zombie firemen and missing body parts mingle with the visual accompaniments of DIY props and hand made hats — a jarring mix as the overall style befits a slot on Cbeebies, yet the content is more Victorian Gothic. My quiet discomfit contrasted other peoples’ obvious enjoyment however, as many audience members clapped along, seemingly revelling in Francesca’s comedic children’s presenter persona with delivery akin to conversation with a small child. If not musical satisfaction, watching Francesca’s Word Salad provided at least a talking point. The Victorian English Gentleman’s Club scored a different sort of bizarre points. Eccentric and whimsical in medieval fancy dress outfits and funeral parlour styled stage, they are also captivating and enchanting. Their third album is an indie pop treat, opening with the title track which describes taking a leaking bag of meat on the bus. And there the alternate reality begins. Pistol Whipped sounds like a horror film set in a fairground; a warped pop ballad tinged with a feeling of expectant doom as if you’re one of just two people left on the waltzers at dusk, the other being a serial killer. My Imagination Can’t Save Me Now has a jagged sound, cracked death breath vocals layer upon spiky decisive guitar punctuated by melodious bursts. The track is laden with drama and gloriously opposing notes. Lost My Face In A Fast Car Race is mesmerising track, luring you in with tribal-like dreamy chants, before electronic jangles intermingle to make you dance. A live offering from VEGC is even better than this excellent album, their romantic indie pop rock with a grotesque twist is both energising and engaging. I recall thinking that Thomas Truax is a genuinely talented musician and songwriter. And then he sprinted around the perimeter of the building, flashes of his black hair and Hornicator visible through the 360 degree windows while the crowd looked on in bemusement. His performance had this sort of distracting, captivating effect throughout. Thomas Truax came to Cardiff from New York via Wowtown. Where’s Wowtown you may well ask. Well it’s sort of his imaginary online world. Once seen live, you can believe that Truax lives in Wowtown most of the time. His energy knows no bounds, and his collection of musical instruments hold a similar lack of limitations. Have you heard of a Hornicator? Neither had I, but Truax has made and plays such a thing, in addition to a collection of other curiosities, even sounds made from a taut, plucked bungee rope. He is inventive, infinitely likeable, and hugely entertaining. A character straight from a Tim Burton film, Truax must be seen for the experience, particularly when wearing his light up swirly glasses. Since the gig, I have subscribed to emails from Wowtown, and upon listening to his music sans performance can verify my initial thought was correct. He does a wonderful cover of Wicked Game, and you’d never know his Hornicator is creating some of the backing track. LISA DERRICK

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Tonight I was getting strong vibes like I was in a hot, sweaty club in downtown LA in 1968 waiting for the band to hit the stage. The crowd had already been whipped up by a bluesy rock set by Gramercy Riffs but tonight really belonged to The Keys. Launching their new album Bitten By Wolves at The Globe in Cardiff the guys took to the stage, powerfully hitting their guitars and building into a strong driving force of a set. The songs were straightforward good rock numbers that had a true distinctive edge with hints to the psychedelia of old but always retaining that unique sound that pulled them far away from being copies. Songs like Everyone Loves You, which is a sleazy heavily distorted nuclear bomb of a song that crashed about the room like a tornado, or The Colour Red, which the band dedicate to Nick Clegg, don’t rely on fancy guitar work or flashy drum solos. No these songs are good enough, and this is the power that The Keys hold. Nobody likes bands getting too self indulgent and milking the moment and The Keys didn’t waste time in their set. Every moment was filled with pure vibrant classic rock and roll, including the brilliant album title track Bitten By Wolves which builds into a wonderful crescendo of tumbling noise that distorts around the room and Fire Inside, from the earlier mini album, which is a true psychedelic kick of a number that was a piece of pop perfection. Cracking Up is a dirty derge of retro implosion that starts out as a battle of guitars before the almost whiney vocal slur across the mix it into the tempestuous affray. The Keys basically write good songs and tonight’s performance proved that the people like them as well. DARREN WARNER

The Bookhouse Boys Alice Gold Clwb Ifor Bach, Cardiff

This was one of Greg Barton’s promotions and as he hurried me through the door I barely made it in time to see Alice Gold on the stage. What I saw was a young lady with bleached blonde locks who looked like a drugged out Debbie Harry from Blondie who knew how to rock the house. This lady had, well, balls really. She played with aggression with cutting guitar riffs that sliced through your body with total precision. This is what I love about this job, seeing acts I know very little about and feeling them turn my insides out with excitement due to their powerful performance. Alice genuinely looked shocked at the riotous applause that she received and seemed humbled by the experience. The performance was over so I had time to reflect on my surroundings. I love the downstairs bar of Clwb because it’s a warmer, friendlier place than the upstairs room. In this bar the bands have to work for your attention against the ever-inviting bar and soft sofa seats that occupy the surrounding space. The only thing I hate is the transparent DJ booth the sits in the corner like a glass menagerie but I suppose you can’t have everything. The headliners came on and it was time to be dragged away from the bar. And boy did the Bookhouse Boys keep your attention. Kicking of with Gone from their album Tales To Be Told they careered through a set of 12 songs that are both amazingly powerful and hauntingly beautiful and, except for one song, following the album track listing completely. Between the seven of them, which included a mini horn section and two vocalists, they hinted at Spanish-style music alongside noise rock to beautiful This Mortal Coil-ish ethereal meanderings. Both acts were a shock to the system as well as a relaxing massage — see, I love this job when excellent bands like these come into my life. DARREN WARNER

Glasvegas

Solus Bar, Cardiff University After seeing Glasvegas a few years back while they were supporting U2 on their 360 tour, both in Wembley and the Millennium Stadium, I was looking forward to seeing them in a more intimate gig. Was I in for a shock at the low turnout! How a band of Glasvegas’ standing can struggle to half fill this venue begs belief — it’s not as if the band has had any bad press, or the new album Euphoric Heartbreak has been critically panned! Anyway the few who did turn up were the hardcore fans and didn’t they show their support for James Allen & Co, filling the vacant space around them with volume! The lights went down and singer James Allen appeared on stage in white luminescent vest and trousers — which was a vision to behold as he was highlighted throughout the night by the ever changing luminescent colours of the mic stand and ultraviolet wire! The band didn’t seemed fazed by the sparse crowd and delivered song after song of stadium-filler type. The World is Yours started the show followed by Pain, Pain, Never Again, both from the new album, then a quality track off the first album Euphoria, Take my Hand. A notable mention should go out to new drummer Jonna Löfgren who has taken over the mantle of previous drummer Caroline McKay, who fans will know was a stand-up drummer...literally. A rare thing indeed — the most notable standing drummer being Moe Tucker from The Velvet Underground. But Jonna Löfgren carries on that tradition of Glasvegas being a band with a standing drummer — and didn’t she just smash holy carnage out of those drums! The power and timing was immense and it’s so captivating just watching her work her way around her setup. Singer James Allen was in good spirits, telling the audience stories in between songs of previous experiences in Cardiff, being on the road and recording the new album. During an energetic set, Allen blasted out Glasvegas classics such as Geraldine, SAD Light and Daddy’s Gone. And at one point Allen’s strong Glaswegien accent became unhearable as the strong small Welsh army sung above him — and by the look on his face Allen was very appreciative of the support. The standout moment for me though came with the performance of Ice Cream Van. It is such an emotional and moving piece of music and Allen did it justice and then some when delivering it live, you could feel a tear dropping from the eye of every member of the audience in unison. Hopefully, next time they come to Cardiff there will be more of a turnout, which this band rightly deserve — but then what did they expect by having a gig on International Star Wars day! GARY BOLSOM

Photograph by Daniel Holley

The Sweatbox

Parc & Dare, Treorchy June’s Sweatbox presented four low-key bands: Drain The Lake, Amerette, Ladies Love A Superhero and Cuba Cuba. As the lights dimmed and the first band, Drain the Lake, started setting up, a few people began to trail in. The first song started and I stood towards the front of the very small audience amongst the flashing taser lights with the slight scent of alcohol surrounding me. The band looked somewhat disappointed with the lack of people in the crowd but continued on with their song, Temptations. I thought the band was interesting and the guitarist was really good but it’s not the sort of music I would rush out to buy. Next up were Amerette, a local band from Treorchy whom I have known for quite a while and seen perform in the past, so I was looking forward to tonight’s performance. The place began to fill up with more people as they kicked off with their own song, The King Of Kings. I thought this song was a great start to their performance and I still had full confidence in them performing an amazing set as always. The music was very upbeat and the lead singer had a very strong voice, getting everyone on their feet and moving. The whole crowd sung along with popular covers they did such as High School Never Ends by Bowling For Soup and Please Please Me by The Beatles. The third band, Ladies Love a Superhero, then took to the stage. They thanked the audience for being there and kicked off with a great rock cover of Bad Romance by Lady Ga-Ga. I’ve seen this band perform before, and I must admit that I thought tonight was the best performance I have seen so far. They kept the audience involved by singing along to the lyrics and clapping to the beat. Their set included their first ever song as a band, Beauty & The Geek. There was something about this song that I really liked which I can’t quite put my finger on. I think it might have been the beat and the guitar or the really strong vocals. Another song that I really enjoyed was their cover of Teenage Dirtbag by Wheatus, especially because of the fact that they involved the audience at one point to give their best Justin Bieber impressions on the higher vocals of the song. The band seemed very enthusiastic and they kept the audience entertained throughout the whole of their performance. I really hope that I will be able to see this band again in the near future. Headliners Cuba Cuba, from Pontypridd, ended the night with a great set of well composed songs, such as new single Home Is The Fire. When they first began, I didn’t quite know what to think as the music seemed quite tension building and sounded rather different from the other bands that had performed previously, but the end result was rather pleasing and I enjoyed the overall performance that they delivered. The beat was rather quick which kept the audience on their feet for the rest of the night. Overall I thought the night was very entertaining and I would love to be able to attend a gig like this again. The night has made me realise how much young talent we have in Wales that really deserve a chance in the music industry. JAZMIN WILLIAMS

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Primal Scream Cardiff University

Primal Scream has delivered aural adventure across four different decades and their groundbreaking 1991 Screamadelica album is still burning brightly 20 years on. A phenomenal Cardiff University gig displayed the diverse and dexterous nature of the Primal Scream tune tapestry. A gathered Monday throng (including Martin Freeman of TV hit The Office) began their week on a high via a concert that meandered between a series of sublime sonic stations. The cool charisma of Bobbie Gillespie took focal point as his aural accomplices delivered a variety of textures. The multi-dimensional Screamadelica journey traverses across such arenas as psychedelia, country, gospel, funk and the mind altering ambient! Take these ingredients, add a live cutting edge and the rhythms reverberate around the venue. The Primal Scream public Come Together and clap, dance, sing, smile and wave as their heroes are Movin’ On Up to a stratosphere that is Higher Than The Sun! The rockers danced and the dancers rocked, and it was a joy to step out of the cold summer rain and Slip Inside This House Of Love to share in the heat of a band that was on top form! A foot to the pedal, deep down and dirty rock ’n’ roll encore of post Screamadelica fans favourites closed the event as Country Girl, Jailbird and Rocks scored maximum points with the punters. There cannot be another act that puts so much into one stage set; and as the gig closed a band and their faithful were united as one! ROB JONES

3OH!3

Solus Bar, Cardiff University So with an army of fans, predominantly mid-teen females, queuing to see tonight’s show, my initial thoughts were ones of “that’s going to make the bar queue a lot easier.” Those who did get to the venue early, witnessed the spell-binding set that Hyro Da Hero produced. Opening with the beat and bass heavy Man Of My City, followed by Dirty South Rock that combined a killer rock backing track with his superb live band, and Section 8 performed with the ferocity of a Hollywood blockbuster, Hyro brought the place down. This is one of the most refreshing things I have seen for a very long time. Next support InnerPartySystem brought something completely down the other end of the spectrum, and it would be an easy albeit weak comparison to say “another Pendulum or Prodigy”. The guys, with their spectacular, dazzling light show combined with dark, edgy and yet poppy electro computer beats, set the place alight. Focusing heavy on material from their latest EP Never Be Content, the guys played a seamless set, not stopping letting the music flow, whilst crowd interaction was kept to the bare minimum. Lead single, American Trash was received with a rapturous response as the audience went wild as their set closed. Headliners 3OH!3 have a reputation for a being one big live party band. On first impressions Nathan and Sean with their American frat boy looks certainly look like characters out of an American teen film. Their energetic live shows, constantly interacting with their adoring army of fans, with the eye for a good catchy pop song certainly results in an entertaining night. All of their songs can be filed under three categories: Partying as seen in House Party; Relationships which spawned the hugely successful Starstruck; and girls which formed the basis of My First Kiss. You have to wonder, however, how long this band will represent the current generation it serves? Their songs are hardly lyrical masterpieces or ones future parents will give to their kids, for example “I’ve got whiskey on the rocks, whilst your sister’s on my mouth!” from Richman. This band represents the here and now of a fast living, highly social, fun loving and not caring about the consequences youth culture that we live in. For as long as 3OH!3 can write good catchy relevant pop songs, like set closer Don’t Trust Me, they aren’t going away anytime soon, keep it going guys! RITCHIE SAMUEL

Enrique Iglesias

Motorpoint Arena, Cardiff It is a well-known and generally accepted fact that they make you wait at concerts (“they” referring to anyone, from the performer to the venue’s management). A wait creates tension, increases excitement, allows people to prepare themselves for the coming event. However, on this occasion the waiting period went on for such a long time that boredom rather than excitement was registered on the faces of many in the audience. This was slightly dangerous as it meant that people decided to wander away from their seats, so when Lemar took to the stage he was greeted by an arena that was patchy with groups of people who had become almost indifferent because of the delay. This made for a difficult start to his set, but he powered through and soon his enthusiasm and polite encouragement won everyone over. A famous face in the early 2000s, Lemar has almost disappeared from view over the last few years, but tonight showed that he has not been forgotten. He is an excellent live performer, combining energy and control to create a highly watchable set that allowed the power of his voice to be focussed on rather than relying on any pyrotechnics or eye-catching stage decorations. After another long wait, the lights dropped and the tension built to breaking point as the crowd, made up mostly of women (of all ages), began to collectively strain their heads to catch a glimpse of the stage. Ear splitting screams erupted as Enrique Iglesias took to the stage, jumping straight into Tonight

I’m Loving You (along with a sprinkling of the post-watershed version) from his latest album Euphoria. Throughout the entire set, Iglesias was energetic, both musically and lyrically — he ran around the entire stage, making full use of the extensions added to it, and fulfilling some fans wildest dreams by kneeling almost fully into the crowd on many occasions. Many of Iglesias’s songs are collaborations, but this was handled well with backing singers and band members filling in for people like Ciara (Taking Back My Love) and Pitbull (I Like It). The longawaited Hero was performed on the B-stage, which Iglesias mysteriously reached without attracting any attention from anyone in the crowd. The performance was marred slightly by the fact that he had invited a fan onto the stage, who happened to be slightly inebriated and who seemed to not be as interested in his singing as in other of his appeals. Iglesias remained calm and in control, however, laughing along with the crowd and gently but firmly extricating himself from the fan’s eager clutches, whilst still being polite. This made for a slightly disappointing rendition of the hit, especially as it was one of the songs that people had been waiting for all evening. Iglesias rectified this by performing his comeback sensation I Like It, which was extremely popular — its upbeat rhythm and catchy tune made for a party atmosphere, with people desperate to dance. Iglesias closed the night with a second blast of Tonight I’m Loving You and it was a very reluctant star who left the stage for the final time as he had obviously enjoyed himself as much as his fans. Enrique Iglesias is not really my cup of tea, but it is good to have a change of beverage once in a while. NIA LIVERSUCH

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Furneral For A Friend Aberystwyth University

With a crowd of Welsh fans well and truly warmed up by support acts Tiger Please and Rise To Remain, Funeral For A Friend took to the stage to a huge cheer. Their constant thanks seemed genuine, as though they were grateful not just for being able to play to a packed venue, but for the support that they have received from their loyal fans throughout the years — and in return they gave a stunning performance. Energetic, loud and clearly enjoying themselves as much as their fans, they blasted out hit after hit from albums old and new without seeming to tire. Opener Roses For The Dead set the tone for the rest of their set, pleasing die-hard fans but also impressing new ones. Newer songs like Man Alive and Damned If You Do, Dead If You Don’t proved that the band had returned to their former post-hardcore roots after experimenting with some lighter material. Lead singer Matt Davies-Kreye leapt around the stage, belting out lyrics and grinning as fans showed their devotion by creating circle pits, and singing along at the tops of their voices to every single song. Arguably their most well-known song Into Oblivion was one of the best moments of the night, with the whole room singing their hearts out to the obvious delight of the band. Set closer Escape Artists Never Die was performed flawlessly, and it was with a hint of regret that the band left the stage — after an evening that proved Funeral For A Friend always deliver an unforgettable performance. NIA LIVERSUCH

Beady Eye

Newport Centre Having been disappointed at not being able to get tickets on release because of the sheer demand for them, I luckily had a mate who bought a pair online at auction — and nearly snapped his hand off when he offered me one! It must be a bit of a culture shock for Liam Gallagher, Gem and Andy Bell to be playing venues on this scale when two years earlier they were selling out stadiums as part of Oasis. But listening to Liam speaking about the new band, it doesn’t seem to be an issue for them as “it’s all about just making music and playing it to the fans”. Prior to the gig, as I was crossing the road to the venue, who should come out of the tour bus parked up but the man himself! Liam came over to the waiting fans, signed things, had his photo taken and joined in with a bit of football banter. In my opinion he gets an unjustifiably bad name — he didn’t come across as arrogant at all, he is a true rock legend! So in the hall, when the lights go down and the beat kicks in, the crowd erupts when we hear opener Four Letter Word and there’s no better way to start the gig off! Beady Eye breezed through their set doing every song from their debut album Different Gear, Still Speeding along with itunes bonus track Man Of Misery and a twisted wheel cover Sons Of The Stage. There was no mention of Oasis and rightly so, this is a different band with a slightly different setup and more of a retro sound to them. LG was his normal self, going about the stage in his usual swagger with the infamous stare out to the audience. Gem and Andy Bell also worked well together swapping main guitar duties throughout the night. There were many standout moments for, me like the opener already mentioned, the dreamy For Anyone, the reassuring The Beat Goes On and what is destined to be a live favourite (the new Champagne Supernova) Wigwam. It was a mega night! GARY BOLSOM

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Mike Fantastic

Millennium Music Hall, Cardiff Kicking off their 2011 UK tour with a night of electro pop punk at a fairly intimate venue gave front man Owen a chance to show off his impressive interaction skills and the band’s indisputable talents — and ensured the night was a great starting point for the rest of the tour. After an atmospheric opening to their set that included a lot of smoke and silhouettes, the boys brought a lot more attitude to stage than I had previously seen eight months earlier. It was easy to see that through supporting acts such as Peter Andre and The Overtones their confidence has grown, and so it should have! In little over a year the boys have done remarkably well and have developed their sound and image. Owen belted out songs such as Clearly I’m Invisible (check out the video on youtube!) and introduced a slightly different version of Miss Hollywood that was well appreciated by the audience. The energy on stage was electric and, from an audience perspective, it was exhausting watching the boys bounce around on stage continuously throughout their set! Think lots of movement, screaming fans, flashing lights...throw in a bit of dub step and you might begin to get an idea of how this band rolls. Classic Mike Fantastic tunes Superhero and of course Turn Off The Lights were met with huge excitement from the crowd and every face I looked at was screaming the words back at the stage, a credit to how well known these songs have become. Displaying a slightly heavier vibe than a few months previously, the band also looked a lot different. Gone were the bright clothes and nerdy glasses, but replaced with a more rough and ready image — the guys seemed to have grown from boys to men in the last year. With such a large following and dedication to the music they make, Mike Fantastic are not to be missed — check them out! ROBYN KENNEDY

Wizard Of Oz starring Sophie Evans The Palladium, London

Photograph by Keith Pattison

Right! I’m going to say this straight. I’ve never considered musical theatre as my first choice when it comes to enjoying music. I like small sweaty venues with full-on guitars and loud vocals. I can’t stand South Pacific or Calamity Jane and I’m positively sick when Julie Andrews breaks into Doe A Dear when The Sound Of Music is repeated yet again on TV at Christmas. So I’m probably not the first choice of person that you’d want to send to London to review the latest production of The Wizard Of Oz. But I’m travelling there to see one young lady, and she is the reason I find myself sitting on a coach heading for my old stomping ground in London. Yes, I was following the Yellow Brick Road to Oz, metaphorically speaking that is, as the road was black. The Palladium is the jewel in the crown of London theatreland, with its plush red velvet drapes and goldpainted figuerines adorning the room and of course the one empty box that was heralded with the Royal Crest. Her majesty’s seat. Around me the people looked expensive, they spoke expensive, especially the rich and famous who included radio DJs like Tony Blackburn and Simon Bates who plonked himself in the seat next to me, saying “Excuse me”, though I must admit I was expecting the next line “Do you mind leaving as you don’t belong here.” Bloomin’ heck. I probably have more tatoos on my body than the rest of the audience put together — should I make my escape now? That’s when it happened. The lights darkened, the music started and the 10 million pound Andrew Lloyd Webber production of The Wizard Of Oz began. And almost straight away, to tumultuous applause, on to the stage came Sophie Evans, the girl from Tonypandy who immediately took possession of the stage, and rarely, from that point on, gave it up. All eyes were on this little lady who showed nothing but perfection in her role as Dorothy, and total confidence in herself considering the major production she was part of. Her rendition of the classic Over The Rainbow was flawless, her accent and dancing skills were inspiring, while her control over that little dog Toto was so professional you could have nothing but admiration for her. All around her houses moved, flying about the stage as she was propelled into the vibrantly coloured world of Oz and her journey to ‘see the Wizard of Oz’ in the deco-styled Emerald City. Of course, a starring lady needs a supporting cast and Paul Keating as Scarecrow, Edward Baker-Duly as the Tin Man and David Ganly as the Cowardly Lion helped make the production believable, as they danced along the revolving yellow brick road. Though special mention must be made to Hannah Waddingham who was born evil especially to play the part of the Wicked Witch Of The West with such venom as she flew over the audience on her broomstick cackling aloud. At every turn I was spellbound by the production, you couldn’t make it more colourful and full of life. And as the main star of the show Michael Crawford entered the stage the crowd erupted into applause once again. Yes, this is the actor who I loved in the brilliant film The Games alongside Ferndale’s famous son Stanley Baker, as well as being a 70s TV main stay in the comedy Some Mothers Do ’Ave ’Em as the hapless Frank Spencer. You could forgive his wayward accent as really this wasn’t about the high acting as an artform. This was song and dance amongst a heap load of spectacle. OK, there was a few surreal moments, especially when the audience clapped along merrily as the cast sang “All hail the witch is dead”, after the flying house had squashed the wicked Witch of The East. Never had a manslaughter been celebrated in such a jovial fashion, unless you count the students outside the Whitehouse only a few day previous to this trip. Me, I’m not saying I’m going to run out and buy up a shelf load of musical DVDs, but what I saw on the trip to London was beyond belief. It was mesmerising and to think that our Sophie Evans, who I timed was only off the stage for about 10 minutes in total throughout the two and a half hour production, controlled and led the whole cast during that time. I already believed that I had many times witnessed a true star in the making. After watching this young lady’s performance in the Wizard Of Oz I can honestly say she has made it. Sophie was brilliant. DARREN WARNER

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Jonny Laura J Martin The Globe, Cardiff

A magical start to the Jonny gig on June 28th was provided by the very tiny, adorable, Laura J Martin, along with her whistle and mandolin. I’d position the musician/singer-songwriter at level nine on a quirky scale, her songs sounding like a Liverpuddlian-Japanese folk mash up, the inspiration for which, she revealed, came from real life characters such as a female (Japanese) arsonist. An honourable mention of her Chaka Demus & Pliers Tease Me cover must be mentioned. With a backdrop of The Globe’s faded grandeur, the headline act Jonny, the super-Celt-pop partnership of former Gorky’s Zygotic Mynci Euros Childs and Teenage Fanclub’s Norman Blake, were tonight joined by Steve Black of Sweet Baboo and Laura J Martin of support act fame. Together they played sweet and light bubblegum pop, sometimes with a 1950s country feel, sometimes revealing the founders’ trademark melancholy, always with lovely harmonies and interspersed by likeable, slightly surreal banter. The highlights were a beautiful version of Teenage Fanclub’s When I Still Have Thee and Jonny’s recent release Candyfloss. LISA DERRICK

The Deadheads Morgans, Tonypandy

Rhondda band The Deadheads are a real deal mix of blood, sweat and tears punk rock. The demon of late 60s, Detroit garage takes battles with the lustre of late 70s, London rebellion, and The Deadheads drive on! The fast and furious force of The Deadheads own self-penned gems leads to a high octane experience and you will not find a power ballad in amongst the fire of Elvis Is Stiff, Jesus Sucks, Razorblade Love, Switchblade City, Deaths Highway, Rip You To Shreds, Car Crash, Sci-Fi Baby, TV Girl, DOA, Straight To Hell and Born To Kill. The Deadheads sonic sprint also affords humour. As well as the banter from vocalist John, this occasion had the added attraction of the one and only Rockin’ Roy in a quasi-choreographic, mock-karaoke Bez meets the X-Factor role! The Deadheads are a garage band — please pop in for a musical MOT if they play at a venue near you! ROB JONES

Katy Perry

Motorpoint Arena, Cardiff You’ve got to hand it to Katy Perry — anyone who can make an arena that can hold over 5000 people smell like candyfloss (a surprisingly pleasant experience) and still retain a sense of “cool” must be pretty confident, and tonight’s show proved that she is oozing with confidence. The sweet scent was a nod to the concept of her latest album, Teenage Dream, which contains upbeat, “sugary” songs whilst preserving her trademark cheeky edge and razor-sharp lyrics. Tonight was Perry’s first visit to Cardiff, so it was no surprise that tensions ran high, and the air crackled with excitement as the lengthy wait for the show to start began — support bands Yelle and DJ Skeet Skeet were going to have a hard time trying to hold the attention of this restless crowd desperate for a glimpse of the pop starlet. At long last, the stage was revealed to have an elaborate set built on it, complete with clouds, giant cupcakes and sweets, and a huge, rainbow-coloured staircase. However, Perry dragged out her arrival onto the stage, playing a video on the screen that illustrated the concept that she was going to play on during her set — a magical world full of candyfloss and lollipops that was similar to the “landscape” in her California Gurls video, with Perry and other fantastical characters inhabiting it. After what seemed like hours, she appeared on the stage like an elegant butterfly and burst straight into

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Teenage Dream. During her energetic and colourful set she played almost every song off Teenage Dream, and interspersed this with hits from her first album One Of The Boys, such as UR So Gay and Hot ’N’ Cold, and crowd pleaser I Kissed A Girl. Perry was true to her quirky and confident reputation throughout the night, making witty comments and proving that she is intelligent and down to earth despite what people may say about her. Her numerous costume changes were dazzling — she appeared onstage to sing the cheeky Peacock complete with a huge peacock tail attached to the back of her outfit, accompanied by dancers dressed as the characters from the video played at the start of the set. She was a blur of colour and vibrant energy as she moved gracefully around the stage, never once seeming to tire. Alongside singing her own hits, such as ET and Not Like The Movies, Perry performed the role of a jukebox, blasting out covers of songs by Willow Smith and Lady Ga-Ga upon request, and this intimate acoustic interlude increased her rapport with the fans as well as illustrating her powerful voice that does not need much of the autotune that it is often heard on her albums. The second single from Teenage Dream, Firework, went down a storm, as Perry dedicated it to all her fans and got everyone in the room singing along. Her final song California Gurls was a hit with every single person present, with its summery feel and upbeat rhythm, leaving an overwhelming feeling of disappointment when the set finally came to an end. Despite it being 1st April, this concert was no April Fool, rather a night to remember. NIA LIVERSUCH

We Are The Ocean

Millenium Music Hall, Cardiff

Battles

A beautiful day in the capital, with a buzz in the air, an atmosphere of excitement of the forthcoming summer. First up on my bands to see over the summer was the Go now and Live Tour. First to take to the stage were Don Broco, who after surviving playing a night in Newport a night earlier, opened the tour’s proceedings. Energetic, brash and lad fuelled punk pop that started to ignite the room, buzzing with excitement. Highlighted in standout single, Beautiful Morning, which combines haunting guitar melodies, beautiful vocal with a feel good factor which shows the potential this band has song writing. Following a strong opening were Lower Than Atlantis, filled with angst. Their bassist opting for his bass to be slung just an inch from the ground, personifying their ballsy, don’t care attitude which could be heard throughout their song. Far Q shows that as a band they sum up a generation, who don’t care about consequences, whose voices are loud and aggressive. They drew heavy on this as they referenced, in a song, that they are the children of the current recession. Keep an eye on this band; they have a voice to be a great political inspired rock band. Contrasting these were American pop-punkers Veara whose peachy light-hearted bubblegum pop was essentially American pop-punk by numbers. Although it was pleasing to hear that a bit of the Californian pop-punk sound hitting my ears, it offered nothing new. Never the less still a good show by the Georgia based band that didn’t fail to make anyone smile in the venue. So as We are the Ocean came to the stage, setting up to their open music before launching into What if feels like. The PostHardcore mob from Essex, combine a riproaring, ear pleasing melodic tunes with dual vocals over the top, with Liam singing crisp and clear vocals and Dan’s distinct raw powerful screams complimenting like salt does to pepper. As the audience proceeded to be whipped into a frenzy by Dan, given the freedom to bounce around on stage and frequently stage dived. The grown up and mature sounding songs off new album, Go Now and Live such as The Waiting Room

and Runaway, sound huge border lining into anthems which signal the intent of something big waiting to happen in their careers. Coincidently material and fan favourites off previous album, Cutting Our teeth, still sound fresh and relevant in today’s scene. The mesmerising Look Alive with its punchy hooks and intricate fret work and These Days, I have Nothing, which Liam’s vocals provide a perfect antidote to Dan’s deep vocal audible screams. The highlight of the night, belonged to Confessions, starting off as Liam solo on stage, strumming and singing perfectly whilst the song built up with ever verse and chorus progressing into the heavy sound to which Dan launched himself onto the crowd and sung the majority of the song on them. WATO have the spotlight on them and the world at their feet, they are coming, so jump on whilst you can; you wont be left disappointed. RITCHIE SAMUEL

Solus Bar, Cardiff University

A scorching day across the country brought another delight to the Capital courtesy of the guys at SWN. Luckily the venue was fully air conditioned with a nice cool breeze flowing throughout, beer flowing through the taps and music lovers flowing through the doors. First on tonight were local band, Truckers Of Husk, cramming on to the stage which allowed zero movement, unfortunately, for both the audience and themselves. Their quirky math and artsy style of instrumental music to drop several million decibels Primal Scream are also philosophers Primal Scream has an impeccable innovative CV blends that of hasunpredictable kept vocals to a minimum, focusing theirand sound on intriguing rock music. fragile! set precedents; and this Accelerated iconic act has delivered aural Withnumerous what we heard, the new album Learning proves to be of an the exciting prospect. Primal Scream public Come Together and they clap, dance, sing, adventure across decades! The quality of girls their Next on were Cardifffour mob,different Islet, a bunch of talented boys and who The switched instruments smileofand wave as their heroes are Movin’ on Up to a stratosphere groundbreaking 1991 album is to the fore current throughout the set. TwoScreamadelica drums at the same time brought theon noise, a splashing guitar brought that is could Higherhappen. than the Sun! Memorable displays of vivid visuals also dates; and, while the contents of this colossus continue to burn brightly a cool vibe, the two keyboards brought the impulsive feeling that anything bounce off the rear of the stage in to the auditorium and the call of twentytheir yearsfront on. Aman, 2011shuffled releaseconstantly of this remarkable has front Whilst across therecord stage also and their woman wriggled Don’t feel It fuels the ethos of Primal Scream! the added whilst bonus singing of the the Dixie Narco EP and booklet containing effortlessly very few parts thata were sung, the impulsive vibe fight took it, over with The rockers interesting insights in to anaera of enterprise. the front man leaping like kangaroo into the crowd and randomly shouting. All partdanced of the and the dancers rocked; and, it was a joy to of the sound cold summer rain and Slip inside this House of love to A phenomenal Cardiff gig displayed diverse and show, I take a guess but itUniversity took everyone by surprise.the A refreshing, uniquestep andout different share in the heatthen of a band that was on top form! A foot to the pedal, dexterous nature of the Primal tune tapestry. gathered from the Welsh music scene! So ifScream you weren’t sweating aA little after the support acts, deep down dirty rock ‘n’ roll encore of post Screamadelica Monday throng (including Martin Freeman ofsure TV hit Office) tonight’s headliners from New York, Battles, didThe make surebegan you were. Their soundand is very fansplay, favourites their week on their a highown via limitations a concert that a series experimental, weremeandered how many between instruments they could letting closed their the event as Country Girl, Jailbird and Rocks maximum points with the punters. of sublime sonic stations! imagination dictate their stomping electro sound. Their set was tight as scored a waterproof ceiling, It was a shame that the plug had to be pulled on a first class evening, The cool charismabetween of Bobbie Gillespie pointinto as one his aural playing seamlessly songs makingtakes their focal set merge big sound. Using an electronic Primal have the ability to entertain all day and all accomplices deliver a variety ofwith textures. This band go one louder backdrop to help collaborations singers, such as can electro pioneer Gary because Numan, come to Scream life. offbythe night! There and one better a mass of poplighting, pretenders! However, multi- side Add to the blendthan some impressive Ian rocking two the keyboards side like no one cannot be another act that puts so much in to stageofset; and as the gig closed a band and their faithful were dimensional Screamadelica traverses across suchJohn, arenas as theone else could effortlessly pull offjourney with cool, and mad drummer with stamina a Kenyan united Primal Scream Shine like Stars and long may their psychedelia, country, gospel, mind altering ambient!of their marathon runner, hitting the kitfunk hardand andthe constant for the duration set.asInone! summary chameleon liketimed industry prosper! Take these ingredients, a live cutting andrule thebook, rhythms Battles are about pushingadd boundaries, tearingedge up the precision and a well Rob Jones reverberate around but thetoatomic needs RITCHIE execution live. A live the bandvenue; that has to when be seen, be fullyassault appreciated. SAMUEL

Primal Scream

Great Hall, Cardiff Uni

Photographs by Seanna Fatkin

The Blackout Solus Bar Cardiff University

After the release of their new album Hope, The Blackout are back once again to play a gig for their avid followers in South Wales. The first of the acts supporting them on this tour is American rapper Hyro Da Hero, who features on The Blackout’s latest single Higher & Higher. Before the gig I had low expectations for Da Hero, I thought he would be another Dizzee Rascal just rapping his way through a set and not fitting in. But it has to be said, he blew my expectations up and smacked me in the face with them. His set was more a combination of rock, rap and dubstep and had everybody in the room moving in time to the music, even though they didn’t know the songs being sung. This unknown rapper is worth seeing. The second support act was The Swellers, another American band who had the crowd moving with their Greendayesque music. Finally, after an appearance from a baby in builder style headphones, The Blackout bounce onto the stage to cheers and applause from the crowd. During an energetic set, they blast out tracks known and loved by the crowd, including the huge single from The Best In Town album, Children Of The Night. The night is made when Sean Smith tries to tries to silence the crowd with one sweeping arm movement and telling us about how much his Welsh fans mean to him. Coming back on for an encore, they play Higher & Higher and finish with Save Ourselves (The Warning). After exiting the stage, the crowd begin leaving. Amongst them I can hear people mumbling that it’s the best show they’ve seen The Blackout do, and I agree. This show was The Blackout at their best. After having no money and funding their album with Pledge, the Merthyr boys are back and on top form. The band will be on tour in December and say they have “big plans” for Cardiff. So watch this space! SEANNA FATKIN

Go-X

Clwb Ifor Bach, Cardiff On the bill tonight are three local bands each with their own following and each following varying in number. First up onto the stage on this third floor venue is All Our Glory. With the opening riff rivalling that of Blink 182, every head in the room shoots up. With about a third of the room here to watch this band alone, when their catchy choruses take hold, they all begin singing along at the top of their voices. With harmonies that sound similar to that of Fall Of Tory, if this band get a big enough following they are set for big things in the future. Next to turn heads is Solace Awaits. This female-fronted band fills the room with a Paramore-esque style, immediately having people moving their heads. Solace Awaits win over the crowd as soon as they decide to do a cover of Jessie J’s hit single Do It Like A Dude. This band won over a load of

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new fans tonight including myself. Inside The Virus is the next band to grace the stage have people moving around the floor almost at once. With an Architects style of sound mixed with some Slipknot-esque guitar riffs this band, even if you don’t like listening to ‘screamo’ bands, is one to listen to for the pure fact, if you strip back each instrument in turn, it is played really well. One to watch in the future. Fourth up on this all welsh line up is Go-X. With new singles just released, it’s the well-known songs that have people singing along. But, the beauty of this band’s songs is that even if you don’t know all the words, you are able to catch on pretty quickly to the chorus. With a prominent Red Hot Chili Peppers vibe coming off this band, from the guitar riffs to frontman Josh’s mannerisms on stage, these guys have an extremely prominent Cardiff following. This band is definitely set for big things and is one to watch in the future. Lastly tonight is a DJ set from Kids In Glass Houses, with Aled Phillips blasting music throughout the small room in Clwb Ifor Bach. This is always a good way to end a really good evening! SEANNA FATKIN

Darwin Deez Solus Bar, Cardiff

Framing Hanley

CF10, Cardiff University So into a sweaty, compact and sold out converted cafeteria in Cardiff University came the five piece from Tennessee to play to an eager Welsh audience. First to warm the crowd up were Wakefield pop-punkers The Headstart. Clear from the first few chords that the band dips into the American pop-punk scene, especially into New Found Glory’s back catalogue combined with licks of Blink 182, attitude of Sum 41 and the fun that NOFX bring to the stage. Even technical problems that hit the set halfway through were dealt with smoothly by front man Shimmy. Overall the music which is as American as apple pie went down well, with the crowd hand waving and clapping throughout. Main support tonight came from London electro-punk-rockers My Passion. If you were to judge this book by its cover, you’d be expecting music from the Goth genre, but this was far from it. They are exciting and edgy as the guys mash up electro, punk, metal and rock to create something unique that has to be heard live to get the full affect. Jonathan on keys was a highlight, one minute dropping huge bass electro beats then seamlessly playing technical pieces the next, which can only leave you impressed. Whilst at the same time you have front man Laurence bouncing around the stage like a lunatic in an asylum, commanding the audience with precession and presence. The guys easily created the biggest pit of the night, threatening at one point to engulf the entire room as it spanned the width of the place. Very impressive set by the guys. Headliners Framing Hanley, it’s safe to say, had been thrown down a gauntlet by My Passion with their strong, tight and sharp set, and the Tennessee post-emo heroes rose above and beyond the challenge — showing why they were headlining. From the very technical guitar riffs to the drum hits sounding like a huge rumble of thunder the set was tight. All eyes were on him the moment Nixon got onto the stage, the screams became deafening and if his easy-on-the-eye looks didn’t melt hearts then they certainly did when they played Fool With Dreams, which was dedicated to his 17-monthold baby. Nixon held the crowd firmly in his hand, commanded the crowd to perfection — there wasn’t one punter there that didn’t hang on to his every word and action. Early in the set they played their blistering cover of Lollipop, originally by Lill Wayne, which is how covers should be done, in a band’s own style. This also leaves the audience firmly fixed on their impressive material such as You Stupid Girl and The Fold. It has to be noted that Brandon’s (guitar/backing vocals) screaming voice is very impressive and just builds into the emotion of a song, not being overly used for the sake of it either which is refreshing to hear in modern music. The band always put a massive emphasis on thanking the fans, even taking time after their show to meet them afterwards, again another freshening moment to see. Framing Hanley are doing to the genre, what FallOut Boy did for emo. The next album and series of shows are set to be huge, so get listening before they explode into the mainstream consciousness — mark these words, because Framing Hanley are just opening the door to greatness. A must-see band when they tour again for any music lover. RITCHIE SAMUEL

Darwin Deez’s NY born music is funky and poppy, breezy and fun, so I was expecting a pleasant enough gig on this Wednesday evening. The reality way exceeded my expectations — a live 80s extravaganza! The first in my succession of Cardiff super promoter Swn gigs, this was an enlivening start and surprising indeed. Extravagantly performed group dance routines punctuated tracks, reminiscent of so-terriblethey-are-amazing workout videos, or two decades of old school disco dancing, all stylistically enhanced by Darwin’s trademark moustache and sweatband. Mash-up covers accompanied the multitude of moves, including artists such as Paul Simon and Enya. The result? A wonderful gig, resulting in a lot more liking for Darwin Deez. I challenge you to leave their live performance sans smile. LISA DERRICK

We Are The Ocean

Millennium Music Hall, Cardiff A beautiful day in the capital, with a buzz in the air, an atmosphere of excitement of the forthcoming summer. First up on my things to see over the summer was the Go Now & Live Tour. First to take to the stage were Don Broco with some energetic, brash and lad fuelled punk pop that started to ignite the room, buzzing with excitement. Following a strong opening were Lower Than Atlantis, filled with angst. Their bassist opting for his bass to be slung just an inch from the ground, personifying their ballsy, don’t care attitude which could be heard throughout their set. Keep an eye on this band; they have a voice to be a great political inspired rock band. Contrasting these were American pop-punkers Veara whose peachy light-hearted bubblegum pop was essentially American pop-punk by numbers. So as We Are The Ocean came to the stage, launching into What It Feels Like. The post-hardcore mob from Essex combine rip-roaring, ear-pleasing melodic tunes with dual vocals over the top, with Liam singing crisp and clear vocals and Dan’s distinct raw powerful screams complimenting like salt does to pepper. The grown up and mature sounding songs off new album Go Now & Live, such as The Waiting Room and Runaway, sound huge border-lining into anthems which signal the intent of something big waiting to happen in their careers. The highlight of the night belonged to Confessions, starting off as a Liam solo on stage, strumming and singing perfectly whilst the song built up with every verse and chorus progressing into the heavy sound to which Dan launched himself onto the crowd and sung the majority of the song on them. These guys have the spotlight on them and the world at their feet — they are coming, so jump on whilst you can as you won’t be left disappointed. RITCHIE SAMUEL

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EXCLUSIVE INTERVIEW

Words by Robyn Kennedy Photograph by Darren Warner

hroughout the month of June this year, Sonig Youth Music Industry and the Muni Arts Centre collaborated to find a winner for The Original Singer/Songwriter competition. Auditions were held and the standard was high as competitors between the ages of 14-25 battled it out to win a slot at Ponty’s Big Weekend and the chance to record an EP. Despite tough competition and a variety of talent, there could be only one winner. Step forward Matthew Frederick who caught the judge’s attentions with his quirky and upbeat original material, as well as his cheerful and charming stage presence. Matthew has been interested in music from a young age, receiving his first ‘baby keyboard’ at the age of five and then an upright piano at seven. According to Matthew this piano, which was bought for £30 by his uncle and towed from West Wales to the Rhondda in a horse box, has helped create many a Frederick masterpiece over the last 15 years. Matthew is able to let his creativity roam free though his solo work,

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many of his songs being written on the train or in the bath! As well as this, Matthew is part of the covers band Aniseeds. But don’t expect to hear conventional cover songs from these guys. “We like to experiment with songs that people may not have heard in a while, and wouldn’t expect us to be playing. Ignition by R Kelly is a good example. We love playing that.” Matthew shares the spotlight with a few of his school mates in Aniseeds and describes his ventures with the band as “a good laugh”. His solo material gives him the opportunity to take his music in a more serious direction and express himself freely. When asked about how he came to enter the Singer/Songwriter competition he told me, “My mother noticed the advert in the local paper. I don’t normally enter competitions but liked the sound of this one, and didn’t think I had anything to lose by going for it. And the prize sounded pretty good as well!” Watching Matthew’s performance the night of the final, it was easy to see that he felt completely at ease with his audience and his

surroundings. “I don’t really get nervous when I’m playing. I know that probably sounds a bit arrogant, but I never have. I feel comfortable on stage. The only time I ever feel slightly uneasy is when I’m playing a new song to one or two people that I know very well, in a small room, for example.” Matthew’s laid back attitude and quiet confidence were definitely elements that helped him secure the top prize. With such a familiarity with the stage as well as an original and unique talent, his success can only get bigger and bigger. When asked about ambitions for the future, Matthew states how he is excited about recording the EP but also mentions his interest in producing a short film and writing a children’s book. Evidently a highly ambitious character, he recognises that “the hard work starts now”. And with his biggest gig to date looming Matthew will certainly have to work hard to achieve his goals, but with such a strong drive and a clear passion for music Matthew Frederick is definitely a name to watch.

SONIG’s Singer/Songwriter Competition Muni Arts Centre, Pontypridd SONIG are about opportunities, giving young performers a helping hand towards that eldorado that is success. Tonight gave the chance for seven rising talents to showcase their abilities under the guise of a competition to be judged by actress and singer Angharad Lee, singer/songwriter and music teacher Stephen J Preston, Caroline O’Neill of RCT’s Cultural Services and Andrew Mulligan, music teacher and member of award-winning choir Only Men Aloud. First performer to take to the stage was the mournful Craig Cox who has true vocal talent and a styling like Damien Rice. His songs were subtle and dreamy though seemed to carry a heavy load, especially for such a young man. Having only played a guitar for around eight months, his lack of musicianship did show but that was mostly covered up by the superb songwriting skill that he proved he had. Next performer Jessica Jenkins has been a mainstay of the SONIG catchment, being on their radar for a number of years. Her delightful poppy songs are full of spirit, while her piano playing shows the talent that has been nurtured since her childhood. There sometimes lacked an emotive connection, as if she was singing the songs rather than living them, but I’m sure that this will develop over time. Another piano playing young lady followed, her name being

Rebecca James. She had recently been spotted at an open mic session and was now being developed by a label as a possible recording artist. Tonight her performance showed both emotion and professional talent, especially as the mic slowly dropped down during her first song performance. Not deterred she gave beautiful renditions of her songs though the adversity. The curved ball of the night came with Josh Manfield who delivered his songs like the frontman of a band, forgetting that only one band member was present to play acoustic guitar which came over as slightly out of kilter. I have actually seen this young man perform with his band and believe that is where his talent lies, as his songs were created to be sung loud and not really as acoustic numbers. The talent is there and he has potential but this competition wasn’t right to showcase that talent. Unlike Lydia Howells who’s kooky approach to her guitar-based songs were just perfect for the night. There was something about the way she looked, sounded and approached her performance that immediately set my own radar clicking. This was a girl who could move forward in this business and the one to watch in my books. Matthew Frederick, the oldest entrant in the competition, expelled a complete professional

persona when approaching his performance, firstly playing a jazzy piano number followed by a guitar-based song. As well as being a solo artist for a number of years he’s also a member of a band called The Aniseeds, whose other members cheered loudly at the mention of their name. His performance stuck out like a sore thumb because he not only had songwriting talent but not an ounce of nerves showed during the two songs he had to perform. The final act of the night was guitarist Lewis Barnstable who had seconded his girlfriend Joely Williams with just one practice session, to sing the songs he had penned. This wasn’t an easy task as sometimes the lack of practice showed through and his nerves betrayed him as she sung a song that he had written for her. Still his writing ability did show through and the simplicity of the tunes will carry him forward if that’s the way he wants to go. Tonight wasn’t really about competition, it was more about showcasing talent and that was what we saw. While we waited for the judges’ decision we were treated to an acoustic performance by Kyshera whose songs could be an inspiration to the night’s performers. The overall winner of the night was Matthew Frederick though a well placed second came from Lydia Howells. DARREN WARNER

continue to Stand & Deliver, or has a Dog Eat Dog world taken its toll on old Goody Two Shoes? The Cardiff Coal Exchange welcomed Ant Adam with his new act The Good, The Mad & The Lovely Posse. An energetic and youthful ready to rock band surround showman Adam, and the pirate panache is present! Ant has a cheeky glint in his eyes and comments about his contemporaries, the media and his personal problems brought positive responses from an enthusiastic crowd. Adam was strong in voice and in performance and he also occasionally took up his six-string instrument and strummed away with a passion. The main man is accompanied by his favoured twodrummer attack, a guitarist, bass player and a brace of female beauties. Adam Ant can still attract and entertain a full house, and that is official! A chance was afforded for the

Dandy Highwayman to regain his stripes, and he did so with aplomb! The bounties of his back catalogue were given an airing to mass approval. To add to this fare the Village People disco cheese of YMCA resurfaced as a soupedup and saucy, sing-a-long song that was ANTS and a version of the T Rex gem Get It On also played a regal role in a value-for-money series of encores. This concert had started with doubt and ended with delight. There may be some happiness ahead for Adam Ant after well documented troubled times, and this original talent who once enlightened the charts could offer colour to the manufactured misery of the current Top 40. Adam Ant is a pop peacock that also has fresh material in the pipeline. So, unplug that jukebox and do yourself a favour because Antmusic offers a feast of flavours! ROB JONES

Adam Ant

Coal Exchange, Cardiff Pub rockers Bazooka Joe headlined when the Sex Pistols played their first concert at Central Saint Martins College of Art & Design in November 1975. The arrival of punk rock led Stuart Goddard of Bazooka Joe to seek new pastures, and he garnered fame as the leader of 1980s icons Adam & The Ants. These Kings of the Wild Frontier wed new wave to new romantic and glam to glitz, and Adam Ant became a sonic superstar at the start of a decade of decadence. However, a 1982 Ants split had the career of Adam take a gradual nosedive that was to plummet as a fall from show business grace paralleled with mental health issues. It is 30 years since those halcyon days when The Ants had the best-selling UK album of the year. Therefore, would Adam Ant 2011 be woeful or wonderful? Can the man once worshipped as Prince Charming

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The Gathering (Final) Bridgend Rec

It had taken three heats, one in Porthcawl, one in Blaengarw and one in Maesteg to get to this point. A whittling down of bands to decide who was to be crowned this year’s overall winner and who would get that time in the Manics own recording studio and space in PLUGGED IN magazine. I had been one of the collective of judges to get some of the six bands/artists into this final, and though our decisions would select bands to be crowned top of their categories it was the audience vote that would crown the kings of The Gathering. First act up was the solo acoustic Alyssa who gave us a quietly confident performance. She had caught my eye at the Maesteg heat and is a definite one to watch, though her own original songwriting talent shined more than her cover of The Killers’ Mr Brightside. Things got a bit noisier from then on, especially as nihilistic bombastic Riot City Saints took to the stage. Their confident gritty, dirty almost arrogant performance in Porthcawl had gained them a first place choice to the final, but this night’s performance seemed to lack that bravado that I’d loved the first time around. It was almost as if this time they were just going through the motions. The set was still pretty impressive and the potential to move up in their rock genre a great possibility. The second placed band from Porthcawl were up next. Bloodcandy gave us a strong and exciting set on both occasions, using the young female vocalist’s voice to the best of her ability. She held the stage for the rest of the band to play on and captivated most of the young testosterone-fuelled boys in the audience. They rocked the crowd into a frenzy, having the advantage of being a local act and timing elements of their set to perfection — including the ripping off of Sam’s T-shirt during their number No More No as scripted on the set list they’d provided. The only problem for me was their songs lacked definition and blurred into one. Act four was Let It Fall, who were new to me this night. They gave us a jaunty indie pop set, bouncing around the stage and giving a full-on energetic performance that was compelling to watch. The main fault was that the singer seemed out of sync with the music and in places showed their naivety, like wasting valuable performance time by reintroducing the Wall Of Death (where the audience splits in two and runs at each other) an element that went out with the dinosaurs. Four Words Later, the winners from the Maesteg heat then gave us a punchy indie performance of straight up rock ’n’ roll numbers that actually had a tune attached. A great selection of three-minute wonders that could end up on the classic list within the next 10 years. A tightening of the group work would help, but that comes from experience and playing live — and will I’m sure — but tonight they shone and were the standout artists of the night by far. The final judged performance came from Station 13 who gave us a noisy rocky treat to finish the session off. Their young age did show in the predictable style of the songs, but still the potential was apparent. While myself and my fellow judges went out to deliberate over our decisions the audience

was treated to an acoustic set from Michael Simmonds, the lead singer of Colours Of One. Then it was time to give out the results. I was chosen to be the voice of the judges, but as usual couldn’t resist the moment to do a rally call about supporting the music scene and believing in yourselves and the bands you are in. Unfortunately, Mei Lewis was on hand to photograph my moment in the spotlight and I ended up looking like a demented mad fool. I might give this idea a miss next time and just stay in the shadows — as if! Anyway, the results were announced. Best Emerging Act was Station 13, while Best Establishing Act in the Heavy Category was Bloodcandy. In the Best Establishing Act in the Indie/Alternative Rock category Alyssa was pitted against Four Words Later, a choice that all the judges found difficult to separate as their performances were so distant from each other. The end result was that Four Words Later won that section. But all this paled into insignificance as I announced the people’s choice. This was the decision that we had no influence over with the result being that Four Words Later had impressed the audience so much they won that golden chalice too. DARREN WARNER

EXCLUSIVE INTERVIEW

Words & Main Photograph by Darren Warner Live Photographs by Mei Lewis

o win any of the categories at The Gathering is no easy feat. After all, you’ve battled it out against six or seven bands in the heats followed by a strong competition in the final itself. So when FourWordsLater become the judges choice winning the title of Best Establishing Act in the Indie/Alternative Rock category they had already achieved a substantial prize of merit. So to then go on and win The People’s Choice, the biggest prize of all, then you must know that something has clicked with the people in front of you and you must be doing something right. “We were genuinely surprised at that result,” explains Ed, guitarist and vocalist for the group. “We were expecting someone like Bloodcandy to win who had brought a lot of fans with them, so I suppose we must have gained some from them. We were surprised to get to the final as we wasn’t prepared at all but we decided to stay for the night just to see who would go through. When we heard our names called out — wow.” The heat in Maesteg Town Hall, an impressive building of beautiful stature and character, had been the hardest and tightest I had ever had to judge. Strong competition came from excellent acts like Broken City Skyline, Alyssa and the unfortunate Sweet Manics who knew that they were not going to win before walking on stage as their band decided to quit that night and the two girls sang to a backing track. “We know we’re out of the running, how can

you have a battle of the bands without a band. This isn’t battle of the backing tracks before we wanted to sing anyway.” But on that night myself and my fellow three judges combined results gave FourWordsLater and Alyssa the chance to sing again, despite one of these choices not making my own top two. Judging the final, I actually felt the choice became more obvious. “Before the heat we’d only had a couple of practices as Ryan (drums) had only just joined us then and we had to play six songs.” So do the guys think that The Gathering actually helps them as a band? “I think it helps us and everyone who was in it, because each band brings along their own fans to discover other types of music plus like us, many of the groups have never played something that big before. Even if you didn’t win you get a lot out of it.” So you’d recommend that others to try for next year’s The Gathering or similar events? “Most definitely. We’re going to keep trying other places because it gives you exposure.” The boys met via their schools through a Rockschool session and where everybody else gravitated towards people they knew, Ed and George were left on their own with Sean. Ed recognised their to be drummer, guitarist and bassist from football training and they seemed to gel together immediately. “The Rockschool helped us meet people, get together and learn different styles. Of

course it’s up to you how far you take it but the initial grouping helped us gain confidence to move forward. We also found that our school, Y Pant in Pontyclun, actually encouraged us to move forward in our music, giving us rooms to practice in and use of equipment as well as advice.” So how relevant is the music in school to your future careers? “Definitely for me,” says George. “I want to do music in University and set up my own studio so by embracing what was on offer it helped me gain the confidence to move forward.” Of course these aspects have helped the band develop further, adding a more professional approach as Ed explains: “I used to just write songs, but because of the type of teaching we’ve had we realise that we actually affect someone’s life via the music. So now working a song together becomes more of a considered thing.” FourWordsLater are a young band, but they’re a group of guys that have a head on each of their shoulders. Education comes first and as they finish off their A Levels and hopefully gain the results they need to get themselves into university or their chosen direction, they know that this must be done to move forward. As for the band? “Who knows. We intend staying together and if we can go our separate ways but then get back together during vacations then we’ll last forever.”

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Sepultura

Muni Arts Centre, Pontypridd Thrash metal titans Sepultura arrived at the modest Muni Arts Centre, which was chosen as the replacement venue for the now defunct, perhaps more fitting Millennium Music Hall in Cardiff, with fellow noise makers Counterhold, The Exiled and Revoker, who have recently been signed by the infamous RoadRunner Records. At the beginning, the crowd was small and the majority of fans were in the bar, gearing up for Sepultura, but the first band, Counterhold didn’t let this put them off. Even though their set was small, the band did well to appease the people watching. Their blend of thrash/hardcore/American-influenced metal was a good opener for the gig and it got the crowd in the mood: heads were nodding and a few people were even trying to start a mosh-pit, to the delight of the frontman. But it was too early for that, yet. Next up were The Exiled. Their intro was a haunting, Cradle of Filth-esque track and it wouldn’t seem out of place being played in a graveyard in the middle of the night. It was the perfect intro for a band whose main sound relies on the basis of visceral noise. The next track was in the vein of Machine Head, Mnemic and early Trivium. The drummer was like a machine, the guitars melodic and the vocalist summed up the sound: in-yourface, vicious, uncompromising. The breakdown was one that a seasoned metal band would drool over and the crowd showed their appreciation with head-banging and applause and shouts at every opportunity. The third song was a particular highlight, as it showed the band’s closelyknit structure and it got practically everyone moving, even with a crazy pit of limbs everywhere and hair flying in the air. The rest of the set followed in a similar way, with the drums being the pick of the lot, although this doesn’t take anything away from the other musicians. They are a tight, impressive band, a metal-head’s dream. Next up were Revoker, whose sound belied their appearance. It was an evil, well-

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oiled machine that propelled the band to the depths of the shadowy lairs of the metal world. They can be compared to Machine Head and at times Alterbridge, and also tonight’s headliners Sepultura. Every track was well thought out, the guitars weren’t showy unless they needed to be, the drums were a constant satisfaction throughout, and the vocalist was a crowd pleaser, in the sense that he got everyone involved and the band played off him. The progression of the tracks carried on throughout the set-list and the music got heavier. They are a band wellsuited to support Sepultura. The thrash metal titans came to the stage with the crowd eager for a traditionally uncompromising Sepultura gig. The atmosphere had been built, the crowd had formed and the venue was filled with anticipation for a gig that comes to Pontypridd very rarely. It seemed as if everyone there had been waiting years to see them live, and undoubtedly that wait was worth it because Sepultura showed how it’s properly done. The intro was a stable, 90s-influenced metal song that brought the whole set in. It was easy to hear their early influences here. The vocalist, Derrick Green, walked out to a rapture of applause and shouts. The second track was traditional Sepultura — hazy, constant guitars, the drumming consistent and technical and Green making the crowd go nuts with his blood-boiling, anger-inducing style. Chaos AD was the song that was the instigator for the crowd to finally let loose. The band played tightly, Green once again showed his pedigree, and as every Sepultura fan knows The Breakdown is one that makes the crowd go crazy. It’s a favourite with the crowd and the band, by the look of things, and it is perhaps the strongest song that was on offer. Throughout their set, Sepultura kept up a blistering pace and the mosh-pit didn’t stop. They showed why they’re so hyped and why they’re still around after all these years. Their last song, Roots Bloody Roots, was an immense finisher and as it is arguably their best known song there wasn’t a head that wasn’t moving. They left the stage to terrific applause and I’m not wrong in saying that I wasn’t the only one who could have watched them all night. RHYS MILSOM

Cerys Matthews

Theatr Brycheiniog, Brecon The world is a big place and for someone like Cerys Matthews, its musical diversity is something to explore. She has been collecting songs since the age of seven, sharing her passion with this diverse collection of music to any Sunday morning BBC 6 music fan who will listen to her show. Using those influences in her songwriting and journeys of discovery of songs from other nations, she has created the beautifully crafted Explorer album, which was made over seven days with no pre-determined sound or calculated format. Being a busy lady and determined to allow as many people as possible to hear her music, the 9pm show at Theatr Brycheinog of the Over Sea And Land Tour that I witnessed was the second one of the day, an earlier one being at 6pm. It’s a subtle affair, Cerys casually strolling on to the stage as if walking into a room full of friends, which in this case may be true as she had been in the foyer just moments before signing albums and her children’s books for many of the assembled entourage. She sits down, picks up a guitar and plays. But when Cerys does this something magical happens because her voice is spellbinding. She could do a version of the Sex Pistols Pretty Vacant and pull the poetry from the lyrics and make it hers. Songs like How Can You Say So Little When You Talk So Much, Sweet Magnolia and the Spanish-influenced La Tarara are mixed with the more melodic tracks from Don’t Look Down and the traditional work for TIR like Sospan Fach, but it’s always Cerys’s rants and reminiscences that carry the show along. In fact she could talk all night without touching an instrument and still hold this audience’s full attention. Cerys is one of Wales’s finest singer/songwriters and a joy to witness every time she plays live because every performance is unique. DARREN WARNER

Sandi Thom

Muni Arts Centre, Pontypridd Sandi brings her bluesy rock sound back to Pontypridd with a full audience intact and waiting for the lady in anticipation. This is the first time back since Ponty’s Big Weekend where she won many fans and blew Rhydion Roberts off the stage with her strong performance. But the people have to wait as we listen to our two Treorchy Girls Sweet Manics give an excellent first support to Sandi. They were followed by Dave O’Grady, whose solitary figure belied the fact that so much power and wit could come from one man, like the line, “You all know this song so please sing along. If you can’t sing then please don’t clap either because you’ll probably be out of time!” before doing his slowed down rendition of Michael Jackson’s Billy Jean. Of course Sandi’s performance is a tight well crafted affair played to perfection by her band. With tracks like The Chain and the effective I Wish I Was A Punk Rocker (With Flowers In My Hair) she flows effortlessly through her set giving the audience more than enough to keep them satisfied. And what comes across is the fact that she seems slightly overwhelmed by the support the audience gives her, as if she wasn’t expecting such a response here in the Valleys. But why not? She’s cool and energetic but most of all producing excellent entertaining music. Ponty is honoured by her presence tonight. LOUISE JOHN

Public Image Ltd

The Coal Exchange, Cardiff

A post Sex Pistols John Lydon blossomed via an experimental Public Image Limited (PIL). In 1978 PIL arrived with the challenging and uncompromising First Issue LP, and 1979 had a core of Lydon, Keith Levene and Jah Wobble forge the monumental Metal Box release that fronted the post-punk scene (and it is also my most cherished listening experience!). This innovative body of work influenced the way that music could be produced with its groundbreaking style stamping an indelible sonic mark. The most potent PIL of Lydon/Levene/ Wobble split in 1980 but different line ups of the band continued until 1992. Admire, oppose, question or laugh at the visceral views and acidic ad-libs of Lydon, but he is entertaining — and he has been a constant source of reading and research for yours truly! There are always contradictions in Lydon land (and that is worthy of a book in itself) but the cash accrued from his Country Life TV adverts has seemingly financed a series of 2011 PIL dates. This concert has Lydon cutting his unique choral shapes while Bruce Smith, Lu Edmonds and Scott Firth provide a wall of sound that strays outside of traditional boundaries. The vituperative vocals of Lydon differ from those yesteryear catcalls, but they can still cut through diamond; Smith beats his drums in a tribal fashion; Edmonds magically controls stringed instruments galore; and the Firth bass bombast notches up to one hundred! The building reverberates and overwhelming evidence confirms that an evening with PIL can outscore several lifetimes with most other acts! PIL prove their validity and Public Image, Poptones, Death Disco, Flowers Of Romance, Chant and Religion shine the brightest. A multitude of twists and turns puts new life to old tunes and Albatross is barely recognisable. PIL visits to Wales are sparse and a December 1983 date (at the long lost Top Rank, Cardiff) was probably the previous gig in the principality. Who cares who or what finances another tour, but the Pied Piper of PIL must return! ROB JONES

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JLS

Liberty Stadium, Swansea What says “Welcome to Wales, JLS” more than a whole day of rain? Despite the weather, thousands of people turned up to enjoy the boyband and their support acts, Alexis Jordan and the 2008 X-Factor runner-up, Ollie Murs. Flying straight in from their Wembley performance, JLS’ entrance to the stage didn’t fail expectations as the teenage heartthrobs and many Mum pleasers shot up through trap doors at the front of the runway. After about a minute of being in the rain, the boys were soaked to the skin but it didn’t stop JLS from dancing around and singing Everybody In Love, Eyes Wide Shut and many of their other hits, along with their own interpretations of big name Jessie J’s Price Tag and much to the crowd’s approval Justin Timberlake’s Girlfriend. This song was followed by an uproar of “Yes, I will” responses from screaming girls. The wailing crowds defied what I thought was the impossible and screamed louder as Aston performed his trademark ‘rip the top

off and do a backflip’ routine, and what made it more impressive is that he pulled it off on an incredibly waterlogged stage. Before all this excitement, Alexis Jordan kept the boys in the crowd happy with her dancing on stage and Mr Charmer, Ollie Murs warmed up not only the females with his cheeky grin and naughty dance movements but their male partners wh seemed to have their feet tapping to his allround crowd pleaser tracks. Big acts like these, coming to Swansea was what we needed to put our name on the gig map and encourage more big names to come and sing their way into the hearts of the Swansea people. The credit had to be given the main act, who filled the grey evening skies with a little bit of JLS sunshine. This was my first experience of being a part of the press and I must admit, I loved every minute of it. CRISTINA SHUKER

Photographs by Rob Cable

The Wanted

Motorpoint Arena, Cardiff With the arena filled with young girls carrying home-made banners declaring their love for The Wanted, it was going to be a hard task for the support acts to get their attention. First to try their luck were four boys called Lawson, who performed a decent set of acoustic pop songs, harmonising prettily enough to get the crowd to listen. The boys seemed genuinely taken aback by the warm welcome they received, especially when they did their version of Katy Perry’s Firework which got everyone up and singing the chorus — these girls were here to party! Bizarrely the band had to pack up their own equipment and so were still on stage being screamed at for a few minutes after finishing the set! Next up were Twenty Twenty who we had seen supporting The Saturday’s earlier in the year and who had become good mates with Attack! Attack! after touring with them while supporting Go:Audio. Kicking off with Build It Up, brothers Jack on bass and Sam on guitar really worked the crowd, while Sonny on drums played on. Launching into Loves A Freak next was a good move as it’s a real sing-along, happy clappy, female-friendly pop rock song that got everyone on their feet. Superwoman next was dedicated to all the mothers in the audience as it was Mother’s Day. Party track Get Down was followed by new single Love To Life — performed with the whole of the arena singing the chorus and Sam jumping off the stage and running into the crowd. A great build-up for headliners The Wanted, who appeared on stage after a Sky News bulletin explained that they were on the run after a burglary — and wanted! The screams were deafening and I wished for

the first time ever that I’d brought earplugs to a gig! Dressed in designer prison gear and posing behind bars they sang opening number, well it just had to be, Behind Bars. The home-made signs asking the boys to “Marry Me!” or “Be My Personal Soldier!” were thrust in the air around the arena, and the screaming just didn’t let up. Second song, the single Lose My Mind, took the screaming up a notch every time one of the boys took over lead singing duties. The well-rehearsed dance routines were timed to perfection, as the boys sang their way through the setlist: Weakness, Perfect Soldier, Ugly, Good Day For Love To Die. Next up we were treated to an acoustic version of High & Low, Golden, Animal and Iris. Throughout the show the boys waved or winked at their adoring fans and the loud screams got louder, especially during a clever mix of Tiao Cruz hits. Then it was back to Wanted tracks Replace Your Heart and Gold Forever, performed beautifully with love heart hand shapes and pretty butterflies on the screen behind them. The screams reached fever pitch as the boys left the stage and I couldn’t hear the last news report, but assume we were being told The Wanted were innocent and had been set free! Thankfully the girlies didn’t have to wait too long before the objects of their affection were back on to sing All Time Low as the encore, to which the arena erupted yet again with a tumult of noise. The show had been a good one, and the live singing so much better than I’d been expecting, but for me the concert was spoilt by the screaming of the fans — many of whom were sure to have been off school for a week with a sore throat! GAIL GRIFFITHS

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Despite Wales having major successes worldwide with bands such as Steroephonics, The Manic Street Preachers or Super Furry Animals, the live Welsh music scene has its problems. In a specially commissioned report by the Welsh Music Foundation, Dr Paul Carr of the University Of Glamorgan’s School Of Creative & Cultural Industries addresses these issues in the search for a solution. The following extract is taken from the subsequent report: Investigating the Live Music Industry Within Wales: A Critical Analysis. Darren Warner then reflects on possible areas of consideration

ccording to a recent Performing Rights Society (PRS) report, the value of the UK music industry stood at £3.9 billion in 2009. Within this total, live music revenues have increased 9.4%, to £1.5 billion — and although this increase was less than the previous year’s 13%, it is still significant considering the UK is in the middle of one of the worst recessions in living memory. Additionally, this increase is seen to take place despite fewer performances, with the PRS report indicating that the majority of major events are selling out, even with higher ticket prices. Within the global parameters of live music Popular Music is unquestionably the driving force behind the medium’s success. A genre that up until recently was gauged principally by record sales, the live popular music industry not only offers considerable financial remuneration at the top end of the market, artistic development for emerging artists, and an authentic cultural experience for its consumers, but also, in a post social listening culture, arguably the most pertinent way of artists cultivating the cultural tribes. As indicated in the Arts Council of Wales report Music Attendance & Participation (2005), 39% of its sample is seen to attend at least one popular music performance per year, with 11% attending at least one performance a month. When statistically compared to 13% for Classical concerts, 7% for Opera, and 11% for Folk, Traditional and World Music, Popular Music can be seen to clearly represent the most significant contribution to the Welsh economy, a fact that begs the question why it is described as Other and attracts so little funding. Although a more recent publication by The Arts Council of Wales (2010) overtly states that it wishes to readdress this imbalance, there is still no exclusively funded popular music included in its Revenue Funded Organisations (RFOs), which are still dominated by the BBC National Orchestra of Wales and Welsh National Opera. When one considers the rural landscape of Wales, it seems that taking advantage of the country’s potential for hosting music festivals is a prudent way of providing a quality

cultural experience, in addition to increasing the nation’s share of the revenue live music currently generates. The above mentioned PRS report estimates that Wales currently constitutes 4% of the UK’s live music revenues, the equivalent of £60 million. Although on the surface this appears to be a significant sum of money, by comparison, Scotland is estimated to constitute 11%, the equivalent of £165 million. Even taking the differences of population into account, it is apparent that Wales is somewhere behind Scotland in the exploitation and retention of earnings from the live music industry, and one of the recommendations of this report is to finance detailed research into how Wales compares to other small nations, and more importantly how we can learn from them. Dr Paul Carr

hat Wales requires is to develop the opportunities it has and in the case of live music help more people take on the challenge of live music promotion. Schemes like SONIG’s Young Promoters Network, featured in the news pages of this magazine, are a way forward but will they achieve the required footfall through those doors? The majority of young people, though all tend to love music, live in an ipod society of instant downloading. They are the X-Factor society of listening to regurgitated songs by a different singer and not spending time to develop an interest in finding new music. Follow that through with the fact that very few major artists play outside Cardiff, is it any wonder that the ticket sales are down unless it’s a major attraction like Take That (who recently played Cardiff)? Of course, as Dr Carr highlights in his report about possible funding opportunities for music festivals, similar to SWN, Green Man and Wakestock, what is of major concern to us here at PLUGGED IN is the cost of entry to these festivals. It is well outside the means of most young people. These festivals, though brilliant at introducing Wales to a range of music, are actually preaching to the converted. Emphasis needs to be placed on addressing the problem at grass roots level, an

aspect addressed by Dr Carr when he says we should “nurture future live music audiences by encouraging alcohol free venues for young people.” In my mind this doesn’t go far enough. We need bands to work together with promoters and rather than wait for the audience to come to them, take their live performance to the young people — whether this means gigs in the schools or the local area at a time that is accessible to a younger audience. The bands need to do the gigs for free or “develop alternative funding models for promoting music in Wales, such as the profit share scheme.” With a profit sharing scheme, everybody who comes on board becomes a team that wants to make the event a success. Star Wars, one of the most successful films of all time secured its actors by offering them a percentage of the profits. If the film had flopped then Harrison Ford wouldn’t own his massive farm in California. If you inspire young people to take an interest in live music early on then they will grow enjoying the experience, eventually travelling to see other performances including attending the aforementioned festivals. Basically, you breed a passion. Another way is for larger promoters to take under their wing rising talented bands. Becoming an older wiser partner to younger promoters they could build up a fan base for these bands. Then they keep moving the band up, placing then on as support for more established artists, most probably carrying their newly acquired fans with them on the way up. If in Wales we want to retain revenue then of course education is paramount. Training is needed, but job opportunities must be made available. Forming an apprenticeship scheme within the Creative Industries will help fill those gaps that are being filled by people brought in from outside Wales. Developing talent from a young age, in a similar way we are here at PLUGGED IN through our workshops, and feeding it upwards into universities or into employment needs to be addressed by the Welsh Government. Basically, because of poor advice and resistance to change Wales has been missing out. It’s time to catch up and hopefully Dr Carr’s report will make people listen. DW

Do you have an opinion on how the Welsh Music Industry should strengthen its position? If so email us here at editorial@pluggedinmagazine.co.uk and we will print the best and most interesting answers in the next issue. All your opinions will be passed on to Dr Paul Carr — so who knows, your views may affect the way the music industry works in Wales. To read the full report Investigating the Live Music Industry Within Wales: A Critical Analysis please visit http://paulcarrmusings.wordpress.com/2011/04/20/the-business-of-live-music/ University Of Glamorgan’s School Of Creative & Cultural Industries recently received just under £600,00 from the European Social Fund to set up a Foundation Degree in Music Industry Entrepreneurship for the Convergence Areas of Wales. The funding lasts for three years, starting in South Wales in September this year. Over the three years there are 75 fully funded places for people who are already working in the music industry. To obtain the funding you need to live or work in a convergence area — the course is delivered mainly online, and takes around 15-18 months to complete part time (mainly via distance learning). It is the equivalent of the first two years of a degree. You can see more details about the course at http://cci.glam.ac.uk/musicindustryentrepreneurship 48

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At a recent seminar that PLUGGED IN attended one person introduced into the debate what he said was a lack of identity in Welsh music, citing music from Africa as having particular sounds from particular areas. I believe that this man had missed the point about Welsh music. Though it may all sound different, everyone has one thing in common and that is the passion that drives them to create. On this page and overleaf we have reviewed a selection of the most diverse Welsh music on offer at present. All the music is exceptional and has that unique passion about it

Treorchy Male Voice Choir Timeless The Treorchy MVC, one of the best male voice choirs in the world, has had to take a sideline of late with choirs like The Fron and Only Men Aloud standing in the limelight. But that’s about to change with the release of this exceptional body of work. They have pressed hard on the accelerator and Timeless is the result. From the opener of Karl Jenkins’ Adiemus, the beautiful Far From The Inside from the Pearl Fishers, and the stunning performances of Dean Powell and Ray Daniels duetting to the three songs from Les Miserables (Bring Him Home, I Dreamed A Dream and Stars) this choir shows the power and versatility of their voices. This isn’t just a collection of songs, this is a statement about their love of music proving it on every level, even introducing an African element with the inclusion of Senzenina. This is a brave move for Treorchy MVC as they have been regarded as the traditionalists for so long, but that has been surpassed by miles. Simply this album is brilliant and should be winning classical awards by the truck load. Go buy it. DW Christopher Rees with The South Austin Horns Heart On Fire Christopher is back and boy has he got soul big time with this his fifth album. Doing the transatlantic trip to collaborate with The South Austin Horns has really added an exceptional element to his music. Throughout you get tastes of gospel, hints of rockabilly all held together with bag loads of soul which oozes the power of this talented writer. Hearts On Fire goes to prove that Mr Rees is up there as one of the greats, showing his passion towards the music he creates. Take the final track Sing With A Smile that is just a perfect blend of the sound of brass alongside the guitar with Christopher’s slightly mournful vocal. Simply sublime. DW Houdini Dax You Belong To Dax Darling Another great release from the See Monkey, Do Monkey label, Houdini Dax having taken hold of grit and raw energy and made it their own. With hints of early Artic Monkeys about them but still carrying that trademark SM,DM late 60s West Coast America feel delivered by bands like The Doors, Dax come up with a winning formula that will have you running to see them live. From the brilliant opening track Magicians through the energetic rip saw song You’re A Ghoul with its brilliant guitar feedback power to the jump around attitude of Fizzy Moon you’ll not be disappointed. Houdini Dax are going to be your new favourite band. DW Huw Haul Dyn O’r Coed Take some traditional folk sounds and throw in a bit of screaming guitars with amazing arrangements around superb song writing skills then maybe you come somewhere close to Huw

Haul’s first album Dyn O’r Coed. Made up of the duo Huw Morgan and Dewi Williams, you can tell that these guys know a thing about music. The songs are so well crafted they hold your attention never allowing you to slip away from the power of their music. Songs like Deg Gwaith Gwaeth and the title track Dyn O’r Coed are simply stunning — while any song that has the title Gail must get my vote! Just brilliant. DW Conductors Dim Problem . Take some guys and. lock them in a room for days without food or water, but with their guitars and you get Dim Problem. Described as alternative rock but more . on the verge of early new wave punk this album has it all. Anarchic venom spat at you while the guitarists grind their axes waiting for the slaughter. There is nothing like a good bit of angst to make your music more agreeable/disagreeable (delete appropriate). I don’t know what happened to annoy Conductors but I hope it happens all the time to them. Excellent stuff. DW Jen Jeniro Swimming Limbs A subtle and beautifully mellow ep from Jen Jeniro which envelops you in a world of big skies and evocative journeys through countryside adorned with the heat of the sun. Tracks like Take Your Time drift along like a slowly meandering river, while Mewn Encyd wouldn’t be out of place alongside a Simon and Garfunkel compilation, if they could sing in Welsh that is. Most of these songs are so delicate you feel they could break, except for the opener Ebeneezer where the guys must have stood up to play as it has a slightly faster rhythm. All beautiful. DW

Death Of An Icon The Patient Simply one of the best rock albums to have come into my possession in recent weeks. DOAI have had a short hiatus of late, being one of the best live acts I had seen in a long time. Well they have been working hard on this exceptional well crafted album of rock tracks that will take a commercial market by storm. Every track is just full to the brim with everything you’d ever ask for from a great rock classic, but add to that the highly emotive and vigorous vocals and you have a winner. I thought 2009’s To Arms Citizens was good — The Patient is better by a factor of 100. DW Omega 66 Nools & High Horses God damn this CD has some funky groove sounds. Think Jamiroquai then add some and you get somewhere to understanding what Omega 66 has to offer. Basically one guy named Krik writes, plays and produces most of the material, and with his partner Sally Thomas together come up with a collection of vibrant electro beats blended with soulful vocals. These are dancefloor fillers of the most exciting kind and should be playing at a club near you tonight. Go get some funk in your life. DW Mike Thomas Different Man Think cool with hints of jazz on top of a Billy Joel/early Elton John vibe and you come up with Mike Thomas’s delectable five tracks on this his first release. This is lounge music but there is a sense of angst and anger in the vocals, highlighted in the ep’s opener Don’t Want To Play Anymore, a slap in the face of an unrequited lover? This is strong stuff and shows a gritty determination to succeed and never give up hope. Exceptional. DW

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CDs, Eps, Demos & Downloads Foster The People Torches Foster The People bring out the album Torches and through it spread the Californian sun to which they are accustomed. An album full of bright infectious beats that’s sure to get you busting a move. If you’re not the dancing type then this album fits perfectly in the car stereo on a sunny day with the windows down. Don’t let the catchy sound fool you though as there are some not so happy lyrics contained in some tracks, but Foster The People create a perfect blend of the two moods that they don’t contradict themselves. You can take notice of the bright feel-good music or take note of the dark deep lyrics, but you can’t do both which is a good thing. A well crafted album that reminds me of MGMT at times in its style. Full of synths, big on percussion and echo and crafted with potential greatness. Gary Bolsom Zepher Who the F**k are Zepher? The title of Zepher’s latest offering is upfront, reflecting the confidence that oozes from each of the songs on this EP demanding attention. The whole EP would appear to be a throwback to the era of 80s rock ’n’ roll if it weren’t for the date on the cover, and this is a welcome return to a decade that holds a special place in the hearts of many. Opening track Black Lace is heavy and upbeat, with a soaring, catchy chorus that is sure to become firmly lodged in the brain of any listener. Everybody’s Doin’ It contains AC/DC-style beats, and is reminiscent of the carefree attitude portrayed by 80s rock, where anything goes as long as it’s fun. (She’s An) Animal shows off lead singer Louis Thomas Ellis’s bluesy and raw voice, whilst Cruisin’ is cheeky and suggestive, and pays respect to bands such as Def Leppard. This EP is more evocative of Sunset Strip than Wales, brimming with confidence and energy. By the time final strains of the closing song have faded you will definitely want to know who Zepher are. Nia Liversuch TV On The Radio Nine Types Of Light Another offering from this Brooklyn group with the creative as ever David Sitek at the helm. Art rock crammed with funk makes for a delightfully crafted masterpiece of an album. From the funky indie club vibe of New Cannonball Blues, the uplifting and great easy listening Second Song to eerie Forgotten which is Sitek at his best. This album is simply an essential for any true fan of music, with it’s haunting vocals throughout which are simply spell-binding. It grabs your interests, pushes boundaries in the electronic genre and will make you think what a beautiful 40 minutes or so of music you have just listened to. Ritchie Samuel Paper Aeroplanes We Are Ghosts An indie romantic comedy could be written around the ready made soundtrack which is We Are Ghosts, the second album by West

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Walian band Paper Aeroplanes. Sarah Howells’ lovely vocals weave dreamy tales of love lost and gained through wistful songs mingled with buoyant tracks, as if charting the relationship twists and turns of ironic knitwear wearing and heavy fringe sporting main characters. Their acoustic anti-background pop melodies are beautiful and gentle, wholesome and warming; they mesmerise and demand attention. The band’s sound has the ingredients to be achingly melancholic but this album is on the right side of optimistic, emotive and memory evoking, yet more upbeat than down. I can imagine Zooey Deschanel and Joseph Gordon-Levitt getting together, breaking up, and reuniting to this record. A Paper Aeroplanes soundtrack would befit a happy ending. Lisa Derrick The Good Natured Skeleton The Good Natured have been active since 2008, but now finally have been getting some recognition after signing a record deal with Parlophone. These amazing three tracks never fail to put me in a good mood. It has an electro-pop edge to it with hints of the 70s band Siouxsie & The Banshees or for the more modern era, shades of Lilly Allen, La Roux and Katy B. This applies to all the tracks on the EP, but don’t let that put you off! They are all original and different in their own way, with meaningful lyrics, especially Skeleton, but I liked Sara McIntoshes’ vocals on Wolves and the drumming in The Hourglass. I never get bored of this band, that’s why the play button works overtime when I put the CD in the stereo. Not the usual type of music I listen to, but I’m starting to vary! India Morgan Rok Ink (demo CD) I think this is a good effort from Rok Ink, with its thumping drum beats, heavy rock guitars and husky vocals — the music is very reminiscent of bands such as Iron Maiden and Metallica. The tracks were well put together and very typical of the genre, though I didn’t really hear anything that struck my attention too much. However, despite being a little underwhelming on record, I think the tracks would sound more at home in a live environment, as rock music is all about the live show. Sophie Brown Battles Gloss Drop Imagine taking a jar to a beach and filling it with sun and sand, sea and rocks. Place the jar on a table back home, lift the lid, and the sound you will hear will be Battles’ Gloss Drop. The mixture of flamboyant guitar riffs and breakneck drumming with chirpy guest vocalists sets this indie three-piece apart from the rest. Lead single, Ice Cream is the highlight of the album as it showcases the height of Battles’ capabilities. It’s not easy to create such quirky a song that sounds so different from anything else around, but Battles have managed it with style — and the guest vocals from Matias Aguayo just add to the brilliance of the track. You really cannot fault the album, showing that there are still

raw new bands out there, who still make music fresh and pleasing to listen to. Sam Griffiths Nick Cave & The Bad Seeds Murder Ballads, Let Love In, No More Shall We Part & The Boatman’s Call Cave and his cohorts muster up expertly constructed songs that allow for engrossing tales to unleash emotions and experiences such as religion, reality, torment, truth, love, lies, drama and death! Cave came to prominence via the post-punk power of The Birthday Party, but the core of his work since then is a more Leonard Cohen-style stance. The remastered releases of Murder Ballads, Let Love In, No More Shall We Part and The Boatman’s Call have DVD features and bonus tunes that add to the musical majesty. God is in the house — go listen to his genius! Rob Jones Bliss Release Cloud Control This debut psychedelic indie folk rock album from the Australian four-piece is an uplifting piece of work. The album feels happy and easy listening throughout its tenure, with hand claps and vocal harmonies throughout making it hard not to fall into the trap and be charmed by it. It does however at times feel a bit samey, not really progressing as you’d have hoped. But a great debut album with a good summer vibe that you can relax to and remind you of times of old. Good stuff that sets the platform for the next album. Ritchie Samuel Twin Atlantic Free It is very rare to find band like Twin Atlantic. They are a perfect example of how a genre, such has rock, can be around for many years, yet there are still elements left to be explored. There is nothing particularly special or different about the Scottish four-piece’s second albm, but that is what makes it that bit better. They have taken rock and added their own feel to it. Perhaps explaining the album title of Free. However, I also find the band very similar to the more recent work of Biffy Clyro — from the gushing melodies, to the strong accent in the vocals. This isn’t a problem, but it could become a complication for Twin Atlantic if they can’t explore their own sound, or break away from this mould of being the same. Are they just another rock band who have their own accent? Sam Griffiths Cat’s Eyes Cat’s Eyes The vocals of Horror’s frontman Faris Badwan and Canadian born Rachel Zeffira are completely contrasting in style, it’s amazing how they work so well together. Faris Badwan gives us the dark moody tone of the album, especially in the track Sooner Or Later but shows a more delicate side on vocal of The Lull. On the other hand Rachel Zeffira’s tone is so angelic and dreamy at times, such as on I’m Not Stupid and The Best Person

I Know which is a personal highlight of a short and sweet album full of moods. Faris and Rachel are the new Yin-Tang of musical culture. Gary Bolsom Brian Eno (with words by Rick Holland) Drum Between The Bells Legendary Roxy Music man Brian Eno is back with this experimental electronic offering with poet Rick Holland strapped in for the ride. Pushing the boundaries of experimental at times on songs such as Glitch and Sounds Alien, with its digital bleepery goodness, allows the pulsating music to take hold of you; whilst others such as Pour It Out and Seedpods let the poetry take hold and flow. It is brimmed with potential throughout but only on some songs can you see the genius come through. Ritchie Samuel Morrissey The Very Best of Morrissey Morrissey has backed the release of an 18-track album of memorable moments from his back catalogue. The bonus of some rarities and a glorious 11 promo video DVD make this set a worthwhile addition to any record collection. There is quality in the product and the packaging, and for the Morrissey debutant this is an excellent entry into the world of one of the great artists of our generation. Rob Jones

lightens the atmosphere, almost making the air feel thin, yet warming. Despite this, it is album opener Anyhow that is the real peak. Its flowing melody and heartwarming vocals really capture the rest of the album in one song. Beautiful, pleasing and inspirational! Sam Griffiths Eliza Carthy Neptune Upon listing to the first 20 seconds of this album I instantly knew that I would love it...then it changed on me, and I love it even more! The rapturous opener Blood On My Boots is a cracker of a tune if a bit scatty. War has a familiar reggae vibe to it and I found myself singing along to the chorus after only hearing half of it. Monkey has an addictive brass hook that catches you and won’t let go. The dreamy melody of Revolution transported me back to my reincarnated days of when I was a 1950s high school fool in love who died of heartbreak. Being from a traditional folk background and from that opening 20 seconds I was expecting much of the same from Eliza Carthy on this album but it’s certainly not the case as the album is so diverse with only a slight nod to the folk direction. Gary Bolsom Scritti Politti Absolute This album unites the core highlights of the career of Welsh wizard Green Gartside. In the late 1970s Green forged a pensive post-punk origin and as a new decade arrived he morphed into a successful and soulful pop star. The fame game is seemingly not for Green and he has stepped away from the limelight, making ephemeral but always emphatic returns to action. An epic night at The Hay Festival in 2006 was a triumph — as is Absolute. Songs to remember that are pure genius. Rob Jones

Godsticks Spiral Vendetta Spiral Vendetta, the debut album of Godsticks, is a fresh and interesting addition to the music scene. The album falls into the progressive rock genre, but it is more complex than simply adhering to one specific type of music, and contains nuances that set Godsticks apart from other bands. Lead singer Darren Charles’s voice is smooth and powerful — its strength is reminiscent of Chris Cornell’s voice (Soundgarden, Audioslave) — and it this that carries much of the album. First track The Offer Still Stands is a compelling opening to the album, giving an exciting taste of what is to come with its strong beats and fluid melodies. Tracks like Unnerving Allure and Timshel are funky and upbeat, with the jazzy influences of progressive rock. Norman is a slightly heavier song than the rest, with a build up of intense guitars and drums leading to a crescendo of sound. The experimental element of progressive rock is evident on tracks like Put Seven In Bold and Withdrawn Was The Giveaway, which both contrast upbeat rhythms with slower sections containing gentle piano. The raw power of Charles’ voice brings the album together, and makes Godsticks a band to watch out for. Nia Liversuch

Shoot The Dead Don’t Stop Dancing. I really enjoyed this rock song, it had a kind of dance rhythm. The band has a singer, drummer, guitarist and a pianist. The song is a good song to listen to, because it is not a loud rock song, it’s a bit like dance music. I enjoyed it the first time I listened to it. It isn’t the type of music I usually listen to, but it was good. When I heard the name, I thought it wouldn’t enjoy it, but I did. My father and stepmother enjoyed it and I recommend this song for anyone who enjoys a bit of rock music. I am looking forward to listening to their next song, because I enjoyed the first one. I think they have a good career ahead of them and the song is very good indeed. Shannon Williams, age 11

Sudanese Playboys Sudanese Playboys If you’re going for a long driving trip across deep Savanna or a blistering desert anytime soon, take Sudanese Playboys’ debut record with you. I’m not even sure what genre they fit into, however their use of trumpets and various other brass instruments could easily act as a soundtrack to anyone’s road trip. The steel drums and lifting riffs really fill you with happiness no matter what the lyrics are about. Whether it is being Raised On Alcohol or a certain Sleepy Emily, the music just

Urban Myth Club Surrender When I put the cd on it inspired me, “all that inspiration made me lose my self.” I could hear the singer say the words clearly. The artist, Mark Desvuaux, really did do a wonderful job creating this song. This song explains feelings to me, the feelings are expressing love. It is a calming and relaxing song. This wonderful piece of art showed me the true meaning of those feelings. I think that this song is about when you are in love, you should not keep it a secret. You should

spill it out to everyone. To me this song is absolutely magical, because it is like being in a movie. It made me feel like I was floating on air with hundreds of clouds. The song filtered out of my cd player and it swayed gently around the room. I would recommend this cd to anyone because it is peaceful. Chloe Evans, age 11 The House Of Flukes You’re Cool I enjoyed the intro of the song, because it was very lively, but when the singer came in the song slowly stopped being lively. The singer sounds like Mika. He had a good voice, but it was very hard to understand, because his voice gradually got lower. This is not the type of music I would normally listen to, because I enjoy pop, but it sometimes made me laugh and I could picture someone sitting around listening to the song. I think the music should be in a show or pantomime. I recommend this song to people who enjoy family theatrical music or enjoy a bit of swing jazz. Megan Thomas, age 12 We’re No Heroes Quiet Colours Great tunes and melodic perfection pervades this first outing from the Cardiff based We’re No Heroes who take guitars and make then funky with addictive vocals that beg you to join in the party. First track Atlantic Hearts with its gentle intro builds through the use of a resonating guitar to deliver us with a piece of pop perfection. Unique sounds, so well worth a look. DW Blitz Kids Vagrants & Vagabonds Welcome back individuality! Until a few hours ago I had never heard of Blitz Kids but after listening to this ep I can say that it will be the anthem for my summer! Blitz Kids shift from genre to genre but I’d say they safely fall under the rock category. They do well to keep a good sense of originality in their music and produce sounds which will leave fans begging for more. The talent fuelled vocals of Joe James are spot on throughout the songs, clean vocals with a bit of edge never goes a miss with me! The words are easy to pick up and the lyrics are also very memorable — I learnt the chorus to Photograph within a matter of minutes and even now the song has firmly parked itself in my head! There are also some brilliant surprises featured within the album in the form of Kids In Glass Houses’ very own Aled Phillips which will leave anyone’s eardrums delighted! Without being offensive it’s what I’d call a ‘rash-like album’ — it just keeps growing on you! I can picture myself listening to these tracks on a beach sipping a few drinks with friends. Georgia Morgan Last Approach From Me To You Back again with this second outing, North Walians Last Approach don’t want to let up on their lust for success. This 7-track ep is a punch in the face, attention grabbing collection of songs that needs your full consideration — just listen to the mesmerising Drift and you’ll understand what we mean. PLUGGED IN will feature this band very soon, I promise that. DW

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