THE INDEPENDENT VOICE FOR MUSIC IN WALES
Issue 15
NATIONAL LOTTERY AWARDS Vote For PLUGGED IN GARY NUMAN
28 Years Later
FUTURE OF THE LEFT
The Plot Against Common Sense
THE TEMPER TRAP Need Your Love
TENACIOUS D
Jack Black & Rock
SCISSOR SISTERS
Magic Hour
NEWTON FAULKNER
Laid Back Conversation
PLUGGED IN’s IGNITE EVENT PLUS
Education Has Never Been So Much Fun
The Boy Royals LostProphets, Coldplay Professor Green, Gomez, Steps Hue & Cry, Dexy’s, The Subways Alkaline Trio, Jam With RoBina
RAWR Issue 5 Inside
VISIT US @ WWW.FACEBOOK.Com/PLUGGEDINMagazine
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Contents editorial@pluggedinmagazine.co.uk www.pluggedinmagazine.co.uk www.facebook.com/PLUGGEDINMagazine www.youtube.com/user/PLUGGEDINMagazineTV
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ELCOME ‘friends’ to this the 15th issue of PLUGGED IN. Not that we’re shouting about it that much, but if you hadn’t noticed we’re down to the last 10 in the Education Category of the UK National Lottery Awards 2012 (see left and News page). We at PLUGGED IN have won awards in the past mainly on merit and assessment of the work we produce, as well as the educational ethos of PLUGGED IN. So to find ourselves in a position of needing a public vote like the X-factor is slightly alien to us. But need your votes we do if we are going to make it to the Top 3 Finalists — so please vote, by mobile, landline and online, and tell your friends, their friends, your mams, dads, grans, aunties, uncles and cousins to vote as well! Your help is hugely appreciated. Anyway, awards aside, once again we have a jammed issue for you with Gary Bolsom’s interview with the laid back Newton Faulkner, Ritchie Samuel’s chat with the Scissor Sisters and Adam Perkins’ interrogation of PLUGGED IN faves Future Of The Left. Darren gives us part two of his piece on electro god Gary Numan, while we have a full review of IGNITE by Craig McDonald, a PLUGGED IN promoted event that was actually one great big workshop. Never has education been so much fun! Enjoy dear readers — and please don’t forget to vote!
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Music News
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Rising Talent
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Future Of The Left
10 Tenacious D 12 The Boy Royals 14 Scissor Sisters 16 The Temper Trap 18 Newton Faulkner 20 Gary Numan 22 Live Reviews... 24 PLUGGED IN’s IGNITE 30 Coldplay 34 Professor Green 37 Quick Chat 38 And Introducing 40 CD Reviews
Gail
IWA Educator of the Year 2011 TURN TO THE CENTRE PAGES AND PULL OUT RAWR ISSUE 5
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PLUGGED IN social network sites To stay in touch with gigs in Wales, snippets of music news or information on workshops and courses, as well as details of what’s going on in the world of PLUGGED IN visit us on facebook and show your support by liking us and adding us as a friend — www.facebook. com/PLUGGEDINMagazine Feel free to post your gig news on our site and your videos on our You Tube page www.youtube.com/user/ PLUGGEDINMagazineTV
PLUGGED IN magazine is a not-for-profit social enterprise, produced by unpaid volunteers MANAGING EDITOR & PUBLISHER Gail Griffiths IWA Educator of the Year 2011
Paradiddles, Plectrums & Posers is a South Wales based website which showcases up and coming guitar bands, unsigned or signed to small labels, as well as promoting associated businesses. The site is predominantly rock based, and each band has a small write up, photo, video and/or track(s) on the site’s jukeboxes and links to their Facebook/MySpace/website. Inclusion is FREE — the only criteria being the quality of the music. The site is quite exclusive with approximately 45 British and 20 American bands/musicians and the standard of the music is very high with Welsh bands Killing For Company, 4th Street Traffic, Caesars Rome, Reaper In Sicily, The Direction, Prosperina, Nothing To Nine and Red Room Therapy, to name just a few. The aims of the site are simple: To help bands with promotion and get them heard by audiences as far afield as possible; To help promote small associated businesses: photographers/studios/ independent record labels/music shops/etc; To help put musicians and associated businesses in touch with each other, as well as help bands find gigs/support slots. The website is a labour of love as no money is made from it, not even to make up the cost of running it. Appropriate affiliations may be considered in the future, but no money will ever be requested from the musicians featured. www.paradiddlesplectrumsandposers.com
CREATIVE DIRECTOR & CHIEF PHOTOGRAPHER Darren Warner GRAPHIC DESIGN & WEB DESIGN Stephen Lewis SOCIAL MEDIA & JOURNALIST Ritchie Samuel ONLINE FILM & VIDEO Matthew Dentus CONTRIBUTORS Abigail Lewis, Adam Perkins, Aiesha Davies, Alex Webber, Anne-Marie Clarke, Ashley Jones, Bethan Miller, Bill Wright, Bradley Kinsey, Callum Sandrey-Jones, Carl Francis, Chloe Bezant, Chloe Lawless, Connor Scourfield, Corey Clack, Craig McDonald, Cristina Shuker, Daniel Ryan, Elin Griffiths-Warner, Elliot Gough, Emma Richards, Gareth Davies, Gary Bolsom, Georgia Brittain, Grant Agg, Ian Thomas, Jade Lee, Jade Lewis, James Powell, Jenn Nimmo-Smith, Jessica McLennan, Josh Gamble, Joy Powell, Kara Vivian, Keirrant Cooper, Kern Bridges, Kevin McGrath, Lisa Derrick, Leanne Worgan, Lee Jones, Louis Evans, Mark Longstaff, Mckenzy Renshaw-Vailquette, Matthew Burns, Matthew Chappell, Meirion Tovey, Mitchell Reed, Naomi Hawkins, Nyasha Matengarufu, Rui Semedo, Samantha Richardson, Sam Powell, Seanna Fatkin, Shay Edmunds, Sophie Robinson , Stephanie Timmons, Stephen Richardson & Steven Davies 04
PLUGGED IN
Newport venue Le Pub is up for sale. The current owner can no longer run the business and needs to sell. So far, everyone who has gone to look around it wants to turn it into a wine bar or flats. After the closure of Newport’s TJs we don’t want that to happen to Le Pub. Welsh promoters Sŵn and the manager of Le Pub, Sam Harries, are launching a campaign to Save Le Pub. Swn has the expertise to run the venue, to book more shows in the spirit with which the venue has been operating and to help market the venue to more people. What they don’t have is enough money to buy the venue and carry out the re-decoration that Le Pub desperately needs. So they need your help to raise the extra capital to purchase Le Pub and restore it to its former glory so it can remain open and continue as a space for live music in Newport. Swn says it needs at least £20,000. That’s a lot of money. But there’s a lot of you. People who have watched bands in Le Pub, drunk in Le Pub, played in Le Pub or want to play in Le Pub. Whatever you can contribute will help. Sŵn feels very strongly about the demise of smaller venues across the UK, having been witness to the ever-changing landscape of live music venues in South Wales over the past few years. So please help them keep one of our landmark venues open, by visting the ‘Save Le Pub’ CrowdFunder page at www.crowdfunder.co.uk/investment/ save-le-pub-1076
PLUGGED IN is proud to announce the publication of a one-off edition of OUR VOICE Magazine, a culmination of workshops at five different establishments throughout the valleys of Rhondda, Cynon, Taff and Merthyr Tydfil. The workshops encouraged the participants, via a series of discussions and interviews, to talk freely about their lives, their roles in society and their future plans, as well as give opinions on the country they are part of. In this, our country’s free society, everybody has a right to express their own opinion without fear of retribution and OUR VOICE worked with people who would be regarded as on the periphery of society — those with Special Needs, NEETS (Not in Education, Employment or Training), from different ethnic backgrounds, on probation or in fear of committing crime, the unemployed and those who would love to work, as well as people who have retired from work altogether. Through expressing their views on the world OUR VOICE wants to show everybody that we are one big society and despite your circumstances, background or position in life you are generally a good person whatever the situation. The projects involved a variety of activities with a variety of people from differing backgrounds who clashed on personality and opinions while discussing and debating in photography and art sessions, research and interview sessions — where every opinion was put forward and considered by all. Throughout the magazine, many of this project’s participants demonstrated opposing views, especially on the position and climate that our country finds itself in at present in 2012. So OUR VOICE is not just a one-off project, but an historical statement of this point in time that is now entering into the tomes of history. The major element that featured throughout the discussions for the magazine was quite simple, bringing home the point that you, and only you, are in control of your own destiny, whatever your beliefs. Using famous Welsh people as points of inspiration the attitude of ‘You Can’ echoed throughout the sessions, with each of the workshops giving its participants another small mountain to climb or a small hurdle to jump that led to many of them gaining a nationally recognised qualification for the work they produced. OUR VOICE is availble throughout RCT & Merthyr via the Library Service as well as popular venues and educational establishments. A downloadable version will be available soon so please stay in contact via our facebook site.
NATIONAL LOTTERY AWARDS Vote For PLUGGED IN
We are really excited that PLUGGED IN magazine has made it into the Semi-Finals of the National Lottery Awards — but we NEED you to HELP us get through to the Final! From over 500 nominees PLUGGED IN has been chosen as one of the Top 10 Education Projects in the UK and we now need as many people as possible to vote for us to go through to the next round of becoming a Top Three Finalist. We are up against some fairly hefty organisations who have a lot of clout behind them — but as the underdogs we still intend putting up a fight! Please would you vote for us by calling 0844 836 9688 from both your mobile and landline, and logging online to www.lotterygoodcauses.org.uk/project/plugged-magazine — you just have to type in your email address, so if you have more than one we’d be ever so grateful if you would do it for each one! We’d really love it if you could also post something on your facebook, twitter, myspace and web-sites, asking all your mates to vote for us too! The vote is open until midnight on Sunday 22nd July 2012. Achieving success in the National Lottery Awards would mean major publicity so we can take this amazing and unique educational project forward and establish our educational ethos within the music industry here in Wales and beyond.
Over the past few months PLUGGED IN has been involved in a unique Special Schools Special Project, which involved a number of different art practitioners delivering workshops in poetry, photography, drama, puppetry and music. The end result was a performance and exhibition of work by the participants, called “Window On My World”, at the UNITY Festival in Cardiff Bay’s Millennium Centre. PLUGGED IN’s Gail worked with 32 young people to produce some poetry-based art collages focussing on their lives. The display was visited by Leighton Andrews AM, Minister for Education & Skills — seen above, sharing a joke with Gail (about Darren, of course!).
HEROES & LEGENDS is a two-day weekend collectors and memorabilia event in Margam Castle, run by our friends Freaks, Geeks & Autographs in Swansea. So go along and get up-close to famous stars of your fave programmes and films — like Sylvester McCoy of Dr Who fame! The fun event is on 21-22 July and costs just £1 to get in (£3 per family).
The culmination of a series of PLUGGED IN workshops, IGNITE was an exciting event that took place in Ponty’s YMCA in June. Featuring dance acts and bands, including Kyshera, the night was a cross between education and fun. Working in partnership wit RCT Community Arts and funded by the Engagement Gateway, PLUGGED IN’s IGNITE focussed on the proposed changes that will be coming to the YMCA. See full review on page 24. A short film of the event, introduced by Gail Griffiths, is available for viewing on YouTube at www.youtube.com/ user/PLUGGEDINMagazineTV
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Hangfire
Cool, classy, and musically brilliant, if you’re looking for the next big classic rock band then look no further than the immense sound of Hangfire. The South Wales super-group consisting of Max Rhead (vox/ex-The Happening), Bob Goo (bass/ex-October Country), Matt Blakout (drums/ex-Tigertailz) and phenomenal blind guitarist Lizzie Lee Evans (ex-Desecration), dish up a supreme helping of stadium rock full of edgy riffs, powerful melodies and sweeping hooks combined with a riveting display of driving bass and drum work and hearty vocals that push each track to the limit. Both life experience and musical experience has shaped what is on offer with Hangfire — a Southern rock shindig three years in the making. “We [Max & Lee] had a false start. We put an EP out and then our drummer (Lee’s brother Aaron) sadly died. It caused us to have a serious think about what we wanted to do, but we started writing again and just wanted to get the music out there — so we recruited Matt and Bob, and the band has taken off.” New album Shoot The Crow etches back to that era of big choruses and more commercial rock. It’s wonderfully balanced with wild riff-fueled anarchy and smooth ballads. “The length of a song when you are creating something is irrelevant. Longer songs aren’t seen as being radio friendly, but that’s not why we write music. Our background is in Southern rock and classic rock from the 70s and 80s, and our original EP was in that vein. But the album is a bit darker and a bit heavier, but that’s what Lee spending eight months in intensive care will do for you. They definitely don’t reflect on pink Cadillac’s… but we’re having such a good time as a band the next album might be bubblegum pop!” New single Faith In Me is a work of art. Guitars sweep and swing throughout, the drums pop and pound, and Max’s vocals hit the spot. Group vocals give the track great feeling and harmony alongside the grungy riff. Mixing classic, blues, and Southern rock, Hangfire stand shoulder to shoulder with bands like The Union and The Answer as one classy act. Hangfire rocks! ADAM PERKINS
Echolounge
Echolounge should be playing to massive stages with pyrotechnics. Their electro-rock sounds are big, soaring, and hedonistic. Fitting somewhere between Muse and Pendulum, Echolounge have really taken the bull by the horns, riding it with their high-tempo riffs and ethereal keys and synths. The Cardiff five-piece have been going for a while now, and really honed their industrial sound – a creative mix of pounding rock, pulsating dance beats and blazing electronica, as showcased on single Take This Away where throbbing beats thump around whilst keys and synths soar in ecstasy then a crescendo of sledgehammering guitars rip through in the chorus. It was released in January to ignite their Death Of The Album concept that sees them releasing a brand new track at the end of every month, complete with a video, remix and cover art by a Welsh artist. “We love playing live, but just wanted more people to access our music. We felt we could get a wider audience by focussing an attention on recording and releasing more music online and we wanted to let other people get involved with the journey.” All the videos and artwork are out of this world, combining aptly with the highly charged rip-roaring energy of their tracks. April’s single Carpre Diem offers feisty beats which pulse and pomp with dub-stepping glory behind Scott’s harmonies, and vibrant guitars force the pace forward. The various breakdowns allow for the quintet to show their creativity, and the big chorus has you singing along. It’s a rollercoaster ride, and offers so much. March release Sleepwalking has a more rocky edge than electronica, with real bounce and energy. The pounding sound of crushing drums are flanked by whirling guitars, offering something completely different. “We believe in a big show, with a big presentation. Echolounge has always been more than just music… It’s very rare that you find a band that goes right inside and touches our soul. Hopefully we can make that music for somebody else rather than waiting for it to come to us.” With their epic hyprid soundscapes, Echolounge are well on their way to doing just that! ADAM PERKINS
Dodgem-x
With Dodgem-X what you see is what you get — straight up DIY punk ’n’ roll. It’s a spikey, punky, experimental, alt-rock which fits in something between Therapy and The Clash. Well, this is what happens when four peeps from Bargoed decide to re-embark on a musical journey! Originating from the late 90s as Dodgem, after taking a five year hiatus, Luke, Geraint and Jody, with new bassist Natasha, returned with the X rated version in 2010. The fruits of their labour feature on debut album If You Don’t Want To Know The Score, Look Away Now — a three-point victory of a record full of short, fast, ballsy and raucous vibrations for your ears. “We didn’t think we’d ever do this, even after we said we would. We didn’t have a plan, and just wanted to go back and play all the old stuff and do a few gigs. We’d all put our instruments away and forgotten all the old stuff, but the magic was still there. We are just playing the stuff we always wanted to play, and not writing songs to try and get on the radio. There’s no pressure on us any more.” Staightjacket is fast, driving, bouncy and aggressive. Jody: “I thought I was going mental, so wrote a song about it.” The track sounds like it — with group vocals adding to its intensity whilst drums slam away. The Dirty Protest is a short, fast, loud and raucous punk song, and the bouncing Mr Bond… I’ve Been Expecting You is a bit of a party piece, as well as being a set opener. A methodical intro is crushed by a speeding furore of guitars, drums and bass. There’s no ducking and diving with Dodgem-X… just straight forward spikey alt-rock. Check out single Action Man, crushingly fast, driving and violent, with some cracking interludes! They’ve already started a new album — go check out the action! ADAM PERKINS
The Lash
Following on from its world exclusive first play by Adam Walton on BBC Radio Wales recently, Shame, the debut single from The Lash, is available now to listen to and download for free on SoundCloud. The Lash are a 45,000 RPM rock and soul hurricane from Newport, featuring the astonishing vocal talents of Erin McNamara and former 60ft Dolls drummer Carl Bevan behind the kit and on production duties. Formed in 2011, The Lash spent most of last year holed up writing and recording before exploding on the live scene in early 2012. Shame is an assshaking soul and gospel-influenced slice of rock ’n’ roll with a killer pop hook. Listen to it and download it for free at http://soundcloud.com/ thelashofficial/shame — or go see them play it live at Merthyr Rock on 31 August as part of a line-up that includes Skindred and Razorlight.
Peasant Kings
Lewys Mann (bassist) and Daniel Evans (lead singer), former members of Indie-go Modem, started writing new songs together but felt they didn’t fit in with Indie-Go Modem’s sound — so they began thinking about looking for a new project. The duo decided to form a new band, and approached Harry Lee and Josh Bowles to fill the drums and lead guitar positions — and Peasant’s King was born.Using the songs that Lewys and Dan had written, but with obvious influence from new band members Harry and Josh, they went forward and recorded four tracks: City Lights, Promised Land, We’re Gone and Kingdom. The band wanted to create an ambient anthemic feel to their songs and were very happy with what they had recorded. The band are currently being mentored by singer/songwriter and talent spotter Amy Wadge. Amy has worked previously with many promising artists, most notably Ed Sheeran. Working on lyrics with Amy the band wrote a new song called Antidotes and after putting the song together headed straight to the studio to record it. The plan is that this track will be sold as a charity single to raise money for the charity Cancer Research. In the next few months the band are performing a session at the BBC Wales studios and lead singer Daniel Evans and bassist Lewys Mann are hitting the road over the summer where they will be performing in numerous venues across Europe under the name Peasant’s King promoting the band’s music!
The Reads
Flintshire quintet The Reads are one of the best bands to come out of North Wales in recent times. Their ambient electro-folk rock is perfect music for the soul, providing magical and dynamic sounds that are a real pleasure to consume. Cracking debut single Good Omens picked up immediate airplay on Radio Wales and Radio Two. A warm fuzzy ambience is met with acoustic serenity and a floating fusion of electronic harmony. It fizzes and sparks before bursting to a rocking crescendo of guitars and strings. Its mix of melancholy and fuzz are very much the vibe of wonderful debut album Stories From The Boarder, that offers soundscapes with which to bask in the sunshine or warm by the fire. Such feeling is summed up in the band’s light-hearted demeanour. “We love nothing more than just meeting up as a group of friends and sitting round and playing. We practice on a farm which is also a microbrewery, so it lubricated the recording process!” The band have gone all out to make the debut album (which is neatly encased like a book) sound as big as possible, and it certainly soars with such vibrancy. Second single Galaxy Egg is a punchy number with mystical charm. It’s got the Sunkist splendour of Elbow, yet ebbs with electronic undertones that are akin of a Massive Attack record. Broken Backs is a rockier affair, with swagger and pout. It’s got a vibrant beat and whirling guitars, before a brass section adds to its resonance, adding to the wonderfully percussive elegance of the record as a whole. With their Sunkist soul and harmonies The Reads are bound for glory. “There’s loads of really good bands in North Wales, but not many venues apart from Bangor and Wrexham. We’ve played in Chester, Liverpool and Manchester quite a few times. After releasing the album we wanted to gain a good following around the North-west, but we also wanted to play to the wider audience and have more.” Expect more splendour and sparkle in the not too distant future, with plenty more new tunes in the pipeline ADAM PERKINS
Fingertrap
Fingertrap are an original four-piece alternative band from Rhondda Cynon Taff who have been voted second Best UK Student Band in a National Battle of the Bands competition with StudentBeans.com, with over 14,000 votes. “We started in April 2011 writing original songs to be recorded for our first EP Return If Found, which we will be recording this August with Gavin Monaghan (whose credits include Paolo Nutini, Ocean Colour Scene, Editors, The Twang, Nizlopi).” Fingertrap consists of Sion Carver on lead vocals and piano, Jimmy Parfitt on lead guitar and backing vocals, Nicholas Savage on bass guitar and backing vocals, and Frankie Allart on drums. “Our influences include The Cat Empire, Maroon 5 to Van Halen, Queen, The Red Hot Chili Peppers to Ray Charles, and Stevie Wonder.”
Magpie Instinct
Inhalite
Cardiff rockers Inhalite are damn feisty. Experimental sounds are met with fast, dirty, dynamic and funky guitars, offering sassy front-woman Hollie a hotbed of riffs and melodies from which to open up her sensational vocal range and create some truly outstanding music. The quartet, completed with the well-bearded Adam (guitar), Dyfrig (drums) and Simon (bass) have been playing in various guises before adding Hollie to their line-up to create Inhalite. “The back-bone has stayed the same, but the dynamic has changed completely with the addition of Hollie’s voice. We’ve evolved into something completely different.” Storming debut album And Then When Went The Sky leads off with the rifftastic My Heat Is The Basement, a fast, racing track with grungy guitars melded superbly with the dynamics of Hollie’s voice and a wicked guitar solo. The album’s title track is exceptional, a wonderful display of musicianship, with exciting guitars creating sonic rock soundscapes that ebb and flow in front of a solid, bouncing backline. “There is no real agenda with our music. We don’t really have a specific sound. We quite like pedals and are trying to find new and exciting sounds to go into our songs. We think it makes what we do more interesting.” The album is a few years in the making, with the lads adapting some earlier, heavier tracks, to suit Hollie’s voice. The superb Iscariot is a brilliant piece of music that showcases Inhalite’s ability to capture a mood in a song. It’s a solid rock track that evolves, with different elements coming to the fore to create a scintillating piece of music that gets better with every listen. The guitar work is immense, and Hollie’s vocals offer so much. The frontwoman has also introduced keys into the mix, adding another element — adding serenity to the crazy guitars and fitting perfectly in Open Eyes. There is a cool video with zombies for Water Or Just Salt, a short but blistering rock track that starts with clean guitars before being blasted by a whirring or driving distortion and a crazy riff that ebbs and soars. And a new album is already in the works. Inhalite are one of the best female-fronted rock bands to come out of South Wales in recent times! ADAM PERKINS
Fun and upbeat, Cardiff five-piece Magpie Instinct’s charming and catchy indie-pop sounds are a right hoot! When guitarists Tim and Hugh decided they needed more tomfoolery on their six years as an acoustic duo they made a great choice in bandmates — forming this creative and charismatic indie-pop quintet that includes Kate (drums), Lois (keys) and Jon (bass). Songs are layered with cool melodies and arrangements, with a mix of male and female and harmonies hitting the spot and allowing each track to grow and evolve alongside their infectious pop-charm. Goalposts is the title track off their new EP, launched in February at a packed out Gwdihŵ in Cardiff. It really is a wonderful tune with harmonious vocals leading a catchy riff before building and bursting with dancing bass and drums and twinkling keys. It mellows down to a finish, leaving you with no option but to press repeat. The record is 10 minutes of infectious indie-pop pleasure, and has gone down really well, including airplay on Radio One. Magpie Instinct are such an easy, likeable and entertaining band. Their music, like their live show, carries a raucous Libertines-esque swagger, yet is more melodic and accessible. New track Follie combines a heart-warming melody with wonderful harmonies, Take My Side is fast and upbeat with a dancing lead guitar, and Rudiments is a wonderfully crafted track, full off melodic-pop charm and a class guitar riffs, bouncing backline, topped off with floating keys. “We really want to entertain people, and don’t want to loose sight of that goal. We could do something weird or outlandish, but we know what we have, and it’s something we are all behind.” With their poppy, catchy, and vibrant sounds… get that Magpie Instinct inside you and steal a ticket today (or their record which is free via their bandcamp)! ADAM PERKINS
By Proxy
By-Proxy is a four-piece alt-rock band from South West Wales.The band was formed in 2009 and named The Purple Turtles, but changed that the beginning of 2012 to By-Proxy. The music is an interesting mix of Rock, Grunge, Ska and Funk. They have made appearances on Bro Radio’s Rock show with Nathan Spackman in Barry and performed alongside acts such as Sian Evans (from the track Louder by DJ Fresh ft Sian Evans), Regime, New Exhibition Of Noise (NEON), The Echo and The Shaws. By-Proxy has performed at venues across the country such as The Buffalo Bar in Cardiff, The Metropolitan Bar in Llanelli, The Parrot in Carmarthen, The Queens Hall in Narberth, The Venue in Haverfordwest and many more. If you’re looking for a unique energetic performance come and check out By-Proxy.
Johnny Cage & The Voodoo Grove
This lot say they’re one of the UK’s finest party bands, and their lowdown dirty Cubana, junkabilly rock ’n’ roll, Voodoo blues and sassy raunch ’n’ rumble music is strictly for those who wanna bump ’n’ grind! From festivals to house parties, halls to pubs, clubs to boudoirs everywhere. Be it supporting rock ’n’ roll luminaries such as Fleetwood Mac’s legendary Peter Green, Dr John or Vince Ray, treading boards with acclaimed cult legends CW Stoneking, Kitty Daisy and Lewis, Lewis Floyd Henry, the Graveyard Johnny’s and the Jim Jones Revue or being joined by Alabama3’s Larry Love in front of the wildest crowd at Secretgardenparty 2011 and showing the festival how to headline a stage, The Voodoogroove gets its Mojo working. If you want the best night out or need a band to start your party, end your party or bend your party, Johnny Cage & The Vooodoogroove will satisfy! It’s cooking on all hobs, firing on all cylinders and sparking all plugs! With ultra sexy striding piano from Dokta Rong, skull & bones bass from The Shangri-La, raw yet sublime vocals from whiskey flavoured blues swiller Peanut Shoestring Wilson, and Voodoogrooves layed down deep and hard by Carlo Centurian and topped off by the deep husk and wild musk of the Abominable Showman Johnny Cage... Always suited and booted — and always ready to rumble!
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utting on a Future Of The Left record is like opening a surprise present. You know it’s going to be great, and that a lot of thought and care has gone into it. But there is an extra excitement in that you don’t know quite what to expect — except for the unexpected. You get those butterflies in your stomach with every listen of FOTL’s surreal rock vibes, as their raucous and satirical pop songs tug and tear at your musical senses, leaving you gagging for more, thinking ‘did I really just hear that?’ and ‘am I really singing those words?’. Such is the guile and down right audacity of the band that they are cemented as one of the best to come out of Wales in the 21st Century. And with riffs ablazing, crazy basslines, pounding drums and a peculiar sense of cunning, Future Of The Left are back with new album The Plot Against Common Sense — a title which gives away much about the album… crazy, agile, satirical and perfect. Typically observational songs are melded with blinding riffs and catchy choruses, packaged up with some off-cut angular rock and slower moving stop-starty grinding tracks. “It’s definitely more colourful than the other records. We’ve always tried to write pop songs, but just usually got it wrong in the sense of throwing in a word we shouldn’t have which automatically disqualifies it from airplay, or putting in some silly time change which takes it over the head of those who are into your average rock band. It’s a whole range of everything. We’re very excited and very proud about it. Some of it is very harsh sounding. It’s very loud, although some of it is more considered,” said frontman Andy Falkous, who PLUGGED IN last spoke to in 2009
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following the release of the blinding second album Travels With Myself And Another (Issue 7). This was followed by a new album precurser in November 2011, EP Polymers Are Forever. The Plot Against Common Sense is led off by single Sheena Is A T-Shirt Salesman, an exciting race between burning distortion and pounding drums, whilst the bass throbs and dances with a pacy swagger. Falko’s scream pushes bowels loose, and weighing in at a little over two minutes it sets a lip-licking precedent to the album of which the cover has a man and penguin holding hands/flippers (depending on your species) walking towards a burning sun. “There is a wide range of musical and rhythmic styles explored. It’s a bit bizarre that Polymers Are Forever, which was a trailer for the album last November, isn’t very representative of the album, but then Sheena is as unrepresentative of the album. New single I Am The Least Of Your Problems is vaguely similar to Sheena in that it’s a fast distorted rock song. There are a couple of songs on the album which are heavier, and there are a few songs that are more subtle. Not lyrically subtle I hasten to add — there’s nothing about schoolboy crushes!” Since last album Travels… there have been major line-up changes for the band, which first formed in 2005 following the demise of Mclusky. Bassist Kelson Mathis left the trio in May 2010, with former Million Dead fourstringer Julia Ruzicka stepping into the void to join Andy Falkous (vox/guitar) and Jack Egglestone (drums). And Strange News From Another Star guitarist Jimmy Watkins has also come on board to add a different dimension to the band. “The freedom of having an extra
instrument gives me more space to do things vocally, and more with the guitars. Sometimes that is a danger, because as a three piece you have less to work with so you make stronger decisions. Sometimes too many options aren’t what you need creatively, but it’s worked really well for us. It’s fantastic with the enthusiasm that Julia and Jimmy have brought to the process. “Kelson left because he couldn’t see himself doing it any more. We are all still on good terms. It turned out to be a positive thing for us creatively, but it was difficult to replace his stage presence because he was a mad young man on stage. Myself, Jack and Jimmy were going to start another band but decided that we had to continue as FOTL, and were glad when Julia joined in 2010.” One thing that is for certain, FOTL have maintained that raucous and comedic element that has made them the much loved band that they are. The satirical lyrical content which is matched by that wonderfully likeminded creativity, through their timing, angular and unconventionality. Robocop 4 — F**k Off Robocop is fast, loud, raucous and uncontrollable, then tracks like Cosmos Ladder and A Guide To Man are quirky, tricky little tracks with bleeping synths piping throughout, and funky backlines. Electronics also play a part in the feisty Polymers Are Forever (released as a free sampler) which buzzes and pips with cutting bass and drums, yet the track turns towards a melodic almost sunkissed finale. “The live show is still as stupidly loud, and there are no real surprises in the album. There is a song called Goals In Slow Motion which sounds like the band Sugar. I’m pretty
Words by Adam Perkins unashamed about that one, we recorded it as a demo, but then kept it as that version because we got everything that we wanted from that one recording.” The album is so exciting, giving you something different with every listen, and is filled with great riffs, hooks and catchy choruses. Second Single I Am The Least Of Your Problems is a superb rock track. It kicks and screams into a great chorus supplemented by a wonderful riff. Sorry Dad I Was Late For The Riots is a building melodic song, behind the anguish of Falko’s amusing lyrics, and the unique Beneath The Waves An Ocean starts with a wonderful dirty bass-line riff, setting the tone, which is heightened by intriguing storied lyrics (this is taking place in a restaurant!), before soaring guitars surf on the epic riff proceeding a typically fantastic FOTL sing-along. “I grew up with Nirvana and that raw rock sound to records but I never really related to it being some kind of emotional catharsis. I don’t really have anything to get off my chest in terms of a deep emotional burning pain or a yearning for a dead lover. It doesn’t work that way for me. I see loud raucous rock music as something of a celebration, even if you are slagging things off as you do it. And, yeah, the sense of humour, without making it seem forced, or without spoiling it so it becomes something like the Bloodhound Gang… It’s such a fundamental part of who we are as a band that it’s not even up for discussion in the
sense that the music hopefully gives a multidimensional representation of who we are as people. I’ve met and toured with a lot of different bands and a lot of different guys who are into a full range of literature and comedy, but if you hear their lyrical approaches, they have such a one dimensional almost traditional rock topic approach of what they write about — be it a woman, or the fall of society, or a personal insecurity. And it’s a real shame because it doesn’t represent who they are as people. They’re kind of stuck with the conventions of rock song writing. And I think that’s a shame in a way because it probably makes us more unique than we should be.” But FOTL are unique, and their brand of rock truly defines them in an age where so many bands get stuck in the mire of conventionality. The Plot Against Common Sense is a must listen, and you will end up giving it more than a few spins to truly get it. At the same time, tracks like I Am The Least Of Your Problems and Polymers Are Forever showcase their ability to continuously capture that rip-roaring riff and catchy chorus for those essential (and in this case outstanding) stand-alone tracks. This is a band that are in fine form, and the music is flowing. “The writing process for the album has been very exciting. It’s been quite prolific, and we haven’t had the resources to record everything we’ve written. I think we’ve written about 90 or 95 songs, but we could only record 18 or 19 for the record.” As loud and intriguing as the new album
is, and with the line-up changes adding a new dimension to the outfit, there is great excitement for the tour. FOTL always put on a great show — musically intense with unpredictable camaraderie between songs. “We want to tour as much as we can. Playing with and at a crowd is an amazing feeling. I write as well, but writing doesn’t come close to performing in regards to that instant payback that you get for your effort. On our last tour we played an amazing sold out show in Croatia — one of the best shows we ever played. Then we travelled 2,100 kilometres from Zagreb to Stockholm and we played to a room of 71 people — only three of whom had come to see us… We’ll tour the States and Australia as normal. There’s been a great amount of interest in both countries to this record. We’re not playing South Wales on this upcoming tour because we always play Clwb Ifor Bach, and although we always sell the place out there is always a big walk-up crowd who pay on the door. We can’t criticise that, but it just prevents us as a band maybe playing bigger venues or maybe playing a couple of nights somewhere, so we just feel we needed to give it a break.” The Plot Against Common Sense is a superb record, wonderfully crafted. It’s good to see FOTL continuing to capture all the raucous energy, craziness and subtle satire that makes them the much loved band that they are. And there is good news for all Colin fans… Colin is still a pussy!
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Words by Jenn Nimmo-Smith You haven’t released any songs since 2006, what brought the group out of its hiatus? Kyle: Well, I guess…love of the game? Yeah I’m gonna go with love of the game. Jack: Yeah, I’m gonna go with love of the game too. Though it should be a multiple choice, you should give us all of the possible reasons as to why we came out of hiatus and then we choose one! So what has Tenacious D been up to in all this time? Jack: What have we been up to since the last time? Well we’ve been working on our meditation, a lot of meditation. There’s been a lot of time spent in the Himalayas. There’s been a lot of exercise and diet. There’s been a lot of nose to the grindstone. We put out a DVD about three years ago. Kyle: The Complete Master Works 2. Jack: This time even more completer! We’ve been working very hard to complete a masterpiece, you know. But what else have you been up to? Kyle: I’ve made babies since last time. Jack: I’ve been making babies too, but I just can’t find them. Kyle: Did you lose them? Jack: I don’t know where they are. Maybe we’ll find them somewhere on the road! So can you tell use a little bit about the inspiration behind the songs on this album, and a bit about your songwriting process? Jack: Well my inspiration was really just my children. It’s kind of like when Creed found out about his baby and he wrote all those songs about it — like With Arms Wide Open. This is kinda my Arms Wide Open album. Would you agree? Kyle: I don’t know, that’s the first I’ve heard! Jack: I guess the inspiration was the haters, the non-believers, they inspired us to fight much harder. I mean, it’s definitely our comeback album. We’ve been gone for years. What was the inspiration K, besides fighting off the haters and the critics? Kyle: Well every song has it’s own story really. I mean, Low Hangin’ Fruit was inspired by sex. Senorita was inspired by sex. Okay, so I guess there’s a lot of sex in there. Jack: The cover of the album is really a big raging boner. I guess the inspiration was orgasms. We should put orgasms on the special thanks list, I don’t know why we didn’t really. How are you hoping the critics will receive the new album? Kyle: I hope they rave about it. I’m gonna read every single review. Jack: I hope that they speak the truth, my only fear is that they’ll speak what they think they’re supposed to think. They’re gonna say what they’re supposed to say, “Oh these guys are just clowns right? We don’t take these guys seriously, right?” That kind of bull. It’s lazy. I’m open up to critics who will really listen to it and say what they really think, as I honestly think it’s the greatest album in the last seven years. And you say “Why seven Jack, why not just one year?” Well seven’s just the number that came into my brain. Have you received any feedback, have you read any reviews yet? Jack: Everyone who’s heard it so far has creamed, they’ve creamed upon it. The songs
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Courtsey of Chuff Media
are better than orgasms, it’s been proven scientifically. They’ve wired people’s brains and when they listen to the album their pleasure cylinders fire on all cylinders. K, can I get your back up on this? Kyle: I’ve read every review so far and they’ve varied about 90% positive. There was a bad one. Jack: Who dared?! Kyle: I can’t remember who it was! It said the big comeback falls short. Jack: Well my mum likes it a lot. What’s it like making music together again and being back together as a group? Is it the same dynamic or has it changed? Jack: You know, it’s better than ever, really. The older I get the more I appreciate the cameraderie and the creative buzz that we get — it’s been a pleasure. I love to rock. How do you spell that? Kyle: ROQUE? Jack: I do love to roque. Roque and roll! So a fair chunk of your tour is going to be spent in Europe. What do you like about performing for this specific audience and what are you hoping for these shows? Jack: Well we’ve never played in Germany before so that will be interesting. We’re looking forward to seeing if the hunger for ‘The D’ is as ravenous as we’ve heard. But the UK has always been some of the best shows we’ve ever had. They just have a deeper appreciation for rock than the rest of the world. And it makes sense that they would appreciate it more, I would say most of the best rock has come from the UK. Wouldn’t you agree K? Kyle: I do. I think the people in the UK are just a little smarter, a little more sophisticated. Thank you UK. Talking of British rock, what kind of British rock do you like? Jack: I don’t know if you’ve heard of these kids, the Arctic Monkeys? I like some Arctic Monkeys, and have you heard of a band called Biffy Clyro? We had to open for them. The Beatles, The Rolling Stones, there’s just some really great bands. So what are your favourite things to do in the UK? Jack: I like to go out for some curry and I like to just wander the streets, on a little bicycle built for two. I like to do a lot of tandem biking through parks, and just meet some people. Kyle: Get up close and personal. Jack: I like to go to a book store and curl up in the corner, read some Sherlock Holmes and talk to some different British people. I like to have a spot of tea and a crumpet. Or just stay in the hotel room. I remember that Manchester rocked extra hard though. It’s the Philadelphia of England. That’s a compliment, they’re a very rocking audience. You played Glasgow in 2006, what are your memories of the show there? Jack: Well that was one of the best shows ever, remember that K? Kyle: Yeah Jack: I think that was the biggest show we played in the UK, and it was off the scale. I remember our opening act were almost killed by being pelted with pennies. Then we went
on and the sound of the audience was similar to thunder, Kyle almost had a cardiac arrest because it vibrated his chestal cavity so intensely. Kyle: I tell you, that would have been a pretty cool way to go. Jack: Kind of. “He died because his heart was such a pussy.” He just couldn’t survive the roar of the crowd, and what a roar! And they just kept it coming, we rocked them and they rocked us. I imagine the people of Glasgow are waited with baited breath for our return, because no one’s loved them like that since. I think they will be. You’re playing the same venue as last time too. Jack: Well I hope they’ve reinforced it, because it shall be shaken. You’re doing three dates in London — can you tell me a bit about what your favourite things are about London, and what you’re looking forward to doing? Kyle: It’s awesome, I love the London fog. Jack: In all honesty, the parks are the most beautiful feature of London as a town. You don’t get a lot of towns in the world any more with so much beautiful green parks. I would go down and swing the frisbee a lot. I’ll be meditating, playing frisbee and having a little picnic. I’ll be there everyday. And you also played Download festival in June. How did that go? Jack: Well I’d heard that if they don’t like you they throw urine at you. So I took an umbrella just in case! As much as I appreciate the golden showers, I didn’t think it would be safe — there’d be possible electrocution. Kyle: We decided to play fewer songs than we usually do. Jack: That’s right, the festival crowd – you’ve got to keep it tight. Kyle: A very economical set. Jack: A spirited…no, muscular set. A good set with new songs that kicked the teeth right out of the gig. Kyle: We massaged their libidos in the second half with some old favourites. Jack: It was probably about 45 minutes of love. Do you have anything else you would like to add? Kyle: Whatever you do, UK, do not download this record. Go to the store and buy it. Jack: Are you really lecturing them on piracy? No one wants to hear you lecturing them about piracy. That is the death knell of record sales! Kyle: I’m gonna buy up all the vinyl, there won’t be any left. It’s a good investment. Jack: Yeah if you buy it all imagine how valuable it’s going to be? It just like buying stocks. It’s like the most precious stock you can buy. Okay, I take it back, that’s good sound economic advice — not a lecture at all. You’re looking out for the fans. Kyle: Make sure you put it in a safety deposit box. Don’t take it out of the wrapper. Jack: Unless you have us sign it. But then they’ll never see that gorgeous poster inside of you and me naked, coming out of the flames. But thanks UK, see you soon. And one more message for Europe: just stay alive. Because it would be a shame if you died before ‘The D” came to town. You don’t want to miss this! Tenacious D - Rise Of The Fenix. Out Now!
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et’s face it — if you’re in a band and have shared the stage with Feeder, LostProphets, Hard-Fi and The View in recent months you’d be pretty chuffed, and feeling you’re heading in the right direction. Well let PLUGGED IN introduce you to a band unto which all heads are turning to right now — The Boy Royals. With their vibrant riffs and uncompromising sing-along choruses, The Boy Royals’ unique spiky Brit-pop sound is quickly helping them become the new rulers of our musical kingdom. They are the voice of the future and have been sent to make everything better! Formed in Newport and building a solid reputation under the guise of TOWN, Alex (vox/guitar), Hamish (guitar), Jamie (bass) and Luke (drums) have renamed the band to help ramp up their efforts on getting out there. “We are the same band, with the same songs. We just have a shiny new name. We had so much trouble getting found on the search
Words by Adam Perkins
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engines, and having come off tour with some highly respectable bands we feel like we could have gained a lot more from it. It was talked about for a few months, we didn’t tell anyone, then just came out and did it. We couldn’t believe how quickly people got onto it. And we like the irony of it. We are far from royalty, but it has that majestic feel. We want to aspire to be something, it has an identity, and we are pleased with it.” Teenage Sky was their first single on Fierce Panda (and the last single as TOWN). The song got them out there, with support from Steve Lamaq and Huw Stephens. “When we heard Teenage Sky on daytime Radio 1 it was a special moment.” It’s got an upbeat vibe, and one hell of a catchy chorus that leaves you singing and clapping at the top of your voice, as the hairs stand up on the back of your neck. Alex’s vocals are spot on, adding to the forward driving musical energy and charisma of the guitars to
help produce the anthemic and British sound that is The Boy Royals. There’s nothing that sounds quite like them in South Wales, and they really capture the imagination. “We went out on the road with LostProphets for a couple of days, which was a great chance to take our songs onto the big stage. And we went down really well with their audience, which we wouldn’t necessarily call ‘our’ audience. To be taken in well by those fans was great. A few weeks later we went on the road with HardFi, who have an older and dedicated following, and we went down just as well with them.” Audiences have really embraced the quartet, who meld a catchy anthemic rhythm with the charm and guile of classic British guitar bands like The Jam, The Clash and Oasis. “We are a British guitar band and we are proud to say it. We are not trying to be an old band, we just have that classic British sound… I think it comes down to the simplicity of the songs we are writing. They say less is more, and we
are firm believers in that. Our influences are bands that we love, like The Who, Pulp, and Blur. They all have songs that are based around three chords, and that’s how we write music. I think it’s quite a rarity to have a band on the South Wales scene that does that, and I think that’s why we, maybe, stick out a bit more than some other bands do.” Voice Of The Future is free to download from their website. An unbelievable riff grabs you from the get-go. Spot on instrumentally — bouncing bass and dancing drums meet whirring guitars, building up a storm with one hell of a sing-along chorus, and a cracking solo that soars in sublime ethereal glory. You really feel it. “It’s all well and good having a song that’s catchy, but if you haven’t got the vibe there then it can ruin the song. You need the feel to make people feel something, or make people move.” Eighteen is a charming Brit-rock track that has a groovy and bouncing backline prowling towards a raucous sing-along chorus that just
grabs you. The Line opens with a cool reggaesounding intro before howitzing guitars shatter the track apart, driving a super-charged riff into an anthemic chorus. And the edgy United Is Our Kingdom bounces around with all the charm and energy of classic bands like The Clash and The Buzzcocks, and true to the method, another great, catchy chorus. It really is classy stuff. The band (who first started out by learning Buzzcocks covers) are really starting to make a well deserved mark. “The first song we learnt to help us gel was ‘Army In My Head’, and then we ended up supporting them. Standing sidestage watching them play the songs that we started out learning was great. And their fans taking us in was really special.” But The Boy Royals have caught the eye in more ways than one. They’re probably the most fashionable band on the South Wales circuit. “It’s been brought up a few times. We just love our clothes and we take pride in the
way we look. It’s nice that people take notice of it.” Weekend Offender and Pretty Green have certainly noticed, so you might see the lads well garmented for a while to come. Easy going and down to earth, The Boy Royals are pleasure to be around, and really do write stunning music that needs to be experienced live, proven as their last few Cardiff gigs have sold out. The Newport boys first ever gig was in Le Pub, “One of our favourite venues — sound is great, atmosphere is great, and it’s quite special to go back there.” With a new single called People Like Us coming out on 13th August and a launch gig on the 17th at Clwb Ifor Bach, things are really starting to kick off. “It’s just about playing every song and every show like it’s our last. We’ve got a lot of songs written — probably too many — but we want to leave people wanting more. Hopefully people will see our progression as musicians.” The Boy Royals… The Boys that shalt be Kings!
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n a normal day here at PLUGGED IN HQ, sifting through and replying to the numerous emails we receive, we picked up an email asking if we wanted to have a chat with the iconic disco-pop band the Scissor Sisters. Of course, we jumped at the opportunity to have a chat with the three-time BRIT award winners and arranged to speak with Babydaddy, the band’s predominant songwriter/multi-instrumentalist. For those of you who don’t know, the Scissor Sisters’ career has been going strong for over a decade now, with a vibrant and sometimes controversial image. If you don’t believe me, look no further than the band’s name which takes its name from a lesbian sex act! The band hatched to life in 2001 from the vibrant gay nightlife scene in New York consisting of most memorable frontwoman Ana Matronic and front-man Jake Shears, backed by Babydady and lead guitarist Del Marquis. The current drummer Randy Real joined in 2008 to complete today’s line-up. It was in 2004 when the band rose to mainstream prominence this side of the wide Atlantic ocean, with a cover of Pink Floyd’s classic Comfortably Numb, which remains a staple in their set today. Later that year they released their self-titled debut album which was 2004’s biggest selling album in the UK and also the ninth biggest selling album of the decade! The album spawned such pop classics such as Laura, Take Your Mama and Mary, all of which entered the UK Top 20 singles chart with the final single Filthy/Gorgeous peaking at No 5. The album swept home in the international categories at that year’s BRIT Awards — their alternative pop was capturing the entire nation, proven with over 2 million albums sold in the age of music piracy, that certainly is some achievement. In their home audience of America, the band has never achieved the success they have on these shores, as WalMart (the world’s richest company and biggest chain store in the US) refused to stock the album, claiming it was “a snarling, swaggering attack on conservatism.” Since then the album has gone three times platinum in the UK, so looking back how does Babydady feel now? “I’m surprised and really feel proud about that album. We were making something different and at the time we were something different.” This further prompted me to ask whether that same passion and excitement I could hear in his voice when talking about the record was still there. “Absolutely, there’s not been a point where you’ve proven yourself, outside the last. We want to prove to ourselves that we can write songs and it isn’t a fluke,” came his very passionate reply. After gaining such recognition, accolades and success, 2005 saw the band take part at the global rock event Live 8 in London, which was broadcast worldwide to billions, and headlining V festival. In 2006 the band achieved one its dreams, by working with Sir Elton John. Their collaboration where he played piano and co-wrote a song, was unleashed on the public as the track I Don’t Feel Like Dancing — which went straight to No 1 in the UK charts and remains the group’s biggest hit to date. Sir Elton also collaborated further on the album. “You don’t say no to the legends, do you?” says Babydady when quizzed on working with the illustrious names, “Dolly Parton is on the wish list still, fingers crossed when she’s ready she’ll come
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play.” Talking of big names, it would be rude not to mention that they have also written and worked alongside Kylie Minogue. “She’s amazing, really fun to work with. She really surprised me at being such a great song writer, I was really impressed,” says Babydady with the shock still in his voice. “Definitely surprised me, as I didn’t know how natural sounding her voice is on record, but it truly is exquisite.” The group also had Scissor Sisters day on BBC Radio 1, in which they actually took over a three hour DJ slot — and when a caller rang in to say she was giving birth the band played Push It by Salt N Pepa for her! They then released their second album Ta-Dah which also went straight to No 1 and played a sold out UK tour cumulating in a threeday stint headlining Wembley Arena in London. Taking a short break after whirlwind success, the band came back in 2010 with their third album Night Work and lead single Fire With Fire. This brought the band another Top 20 UK hit and their fourth most successful hit. The album overall garnered positive reviews from critics and charted at No 2 behind Eminem. It was during this album cycle that the band supported world phenomenon Lady Gaga at the world’s most famous arena, Madison Square Garden in New York City. “It was a really fun show, it was great to play to a new crowd. Lady Gaga fans are really interesting and her fans appreciated the experience we put in,” Babydady says. It’s quite hard to believe that for all the UK success the band has achieved, they haven’t achieved the same level of success back home. Which brings us up to speed to today’s new album, Magic Hour, which features guest vocals from music’s hottest property right now Azealia Banks, the world’s hottest producers in Alex Ridha of Boys Noize and Calvin Harris, and mixed by Pharrell Williams (N*E*R*D/Neptunes). “It was a great experience,” Babydady tells me. “We met them before, everyone was really fun, it’s our rule that we don’t work with someone unless they are fun.” Alex Ridha has to be noted as being the main producer for the album, “There was a really good spirit inside the studio. Jake met him in Berlin when we were writing Night Work, so that’s where it came about.” The album was recorded across both sides of the Atlantic, in the band’s own studio in New York and in Berlin too. “It was a cool way to work,” says Babydaddy. Magic Hour has given the band another Top 20 UK hit with lead single Only The Horses and hitting No 4 in the UK album charts behind Gary Barlow’s Jubilee Juggernaut. With all the success the band has achieved in the UK, it’s no wonder in many previous interviews they have done that they dub the UK their ‘spiritual home’. Do the band know why they’re so successful here? “I get asked this question a lot, but I don’t really know why myself. In the UK we always have a good time.” And as for Wales, Babydady has one fond memory that sticks out like a sore thumb. “On our arena tour I had to use an ATM to get cash out and the dual language really confused me! The drive to Wales was really nice too, coming into the country and it wasn’t rainy like England.” Wow he must have caught us on a good day! Now you’ve read the exclusive insight behind the band, you’ll know the music is what matters most. Read the album review on page 40.
Words by Ritchie Samuel Photographs courtesy of Chuff Media
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Words & Photograph by Darren Warner
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onight Only Boys Aloud and Nu Skool compete in the final of Britain’s Got Talent and although I’d support young Welsh talent through and through (I even wrote a review of OBA’s first anniversary concert for Issue 13) it is a no-no TV night for me. Because tonight The Temper Trap are in Wales and they are on my list of bands to see. So, babysitters sorted, the daughters are left to suffer the trials and tribulations of Simon Cowell and his search for a dancing dog — and, of course, vote for OBA — while Gail and myself do a rare thing, and that’s go out to enjoy a gig together rather than me standing around on my own holding my camera and note pad like a true billy no mates. The Coal Exchange seems to be the place for great gigs at present and tonight is no exception. Admittedly, though, I was wondering if sorting out babysitting duties had been a good idea after all when the support act Cymbals performed — which came as a shock after Lisa Derrick had listed them as one of her Top 10 picks from last year’s SWN festival, but then everyone has different taste and these guys weren’t quite mine. Good, but not my kind of good if you know what I mean. But then The Temper Trap blasted onto the stage with opener Repeater (renamed London’s Burning on the album) and that is when we knew we’d made the right decision to organise babysitters and come out together. You see The Temper Trap’s albums Conditions and the self-titled second release show a unique take on music with Dougy’s voice drifting around like some ethereal angel that is about to be exorcised from heaven. Live the band take you to another level with their wonderful harmonies, brilliant multi-instrument playing and smoke fuelled light show, which all add to heighten the experience. Need Your Love and Love Lost carried on the preceeding, while songs like Down Rivers and the latest single Trembling Hand kept this energy going. Usually a gig has a lull, moments to relax from the intensity of the music, a time to go to the bar. You didn’t have a moment to even contemplate life in general with The Temper Trap as they commanded your attention, respect and anything else you could give to them throughout the night. Of course as a band they were brilliant, but it was Dougy’s range on his immense vocals that kept you spellbound. Though saying that, and almost in a complete contradiction to what I’ve just said, the power that was launched at us under the guise of the instrumental Drum Song that finished the set was truly awe inspiring. They left the stage and you think you wanted them back on. In reality you needed them back on that stage because they had become your new drug of choice. After the crowd chanted and stamped for more, the desperately wanted encore consisted of Soldier On, the heartwrenching I’m Gonna Wait followed by the trail blazing hit Sweet Disposition to end the night with the loudest applause we’ve heard in a while. Dougy showed his appreciation to the Welsh fans with the comment, “Last night we were in Brighton — shit crowd. Tonight...” The roar of approval said it all. Easily one of the best gigs PLUGGED IN has witnessed this year. So having loved the albums and then seen their superb live performance, we felt we needed to tell you more about The Temper Trap as they have made such an indelible impression. An Australian indie rock group from Melbourne, which formed in 2005, the band comprises Dougy Mandagi on vocals, Jonathon Aherne on bass guitar, Toby Dundas on drums, Lorenzo Sillitto on lead guitar and Joseph Greer on keyboards and guitar. Relocating to London they released their debut album Conditions in June 2009 with lead single Sweet Disposition peaking at No 6 in the Top 10 UK Singles Charts. So we asked the band to tell us about their music. Since PLUGGED IN first became aware of the band you have stood out because of the juxtaposition of rock music and beautiful vocals. How did this unique sound come about? It came about naturally. I write vocals to suit the music which is usually written beforehand. Dougy, your vocal range is immense; what’s the story behind your incredible talent? I’m not sure. I wasn’t even interested in music until my mid teens. I used to sing in the local church choir in my village. My uncle was the
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conductor and my aunt was often on organs. I then started playing and singing in high school bands with my cousin. I guess through time I developed more and more a love for music, singing and performing. I suppose it’s in my genes to sing or be musical. I just didn’t realise it until later on. When the band plays live your performance is so much more powerful than the recorded version. Do you purposefully ramp up the tempo or is it just hard to capture the raw energy of a live performance in the studio? There are certain songs that we purposely speed up for live shows, but for the most part they stay true to the recording. It is, however, next to impossible in our case to really get a taste of that live element on record. How do you turn something so visual into an audible format? I would say our live shows are just as much about the visual side as it is audible. When playing live you all have massive energy on stage, how easy is it to keep up that level of performance on a tour? Not easy. You have to be disciplined and make sure you’re in top physical and mental condition. If you’ve had a massive bender the night before or your head is not focused on the task at hand, it will show. How does it work when you’re writing new material — does the music come before or after the lyrics, and how much collaboration is in your sound? So far, music has come first. Sometimes we collaborate, sometimes someone will come in with pretty much a formed song. What does it feel like to have one of your songs chosen and used for a British TV advert (Centre Parks)? It’s just another avenue of getting your music out to as many people as you can. It’s just like radio except you get paid. The Temper Trap is like a decent box of chocolates, once you get into them there is no way out. Uniquely individual in both sound and musical structure they are not your run-of-the-mill indie rock band. Their sound is different, their performance is memorising. They are totally in a league of their own. The Temper Trap’s self-titled second album is out now.
Words by Gary Bolsom Photograph courtesy of Chuff Mediaa
A
typical rainy day in May and I was heading to the Coal Exchange to meet and listen to the guitar slapping rhythmical machine that is Newton Faulkner. Anyone who knows Newton’s music should know that this rainy day was just about to turn into a warm breeze as that’s what his music sets out to do. Arriving at the Coal Exchange in my office work gear the security doormen couldn’t resist cracking jokes that the interview about to take place was for a job...Newton’s infectious aura seems to even rub off on the most hardened of men! After the introductions had been made, I confessed to Newton that I was new to this interviewing face-to-face malarkey, to which he responded, “I’ve probably done thousands!” That would normally put me off, but coming from Newton I knew that it was meant lightheartedly to make me feel at ease...and it did. The stand out thing you notice with Newton Faulkner is that he really appreciates his fans, also evident throughout his set later that evening when he easily chats with the crowd, tells jokes and involves us all in participation. So I asked him about his Facebook app and Twitter account which highlights this more. “It’s like a reward scheme, so if there are like 25,000 followers on twitter and that goes to 30,000, then they all get a free piece of music or a video. I also like to do stuff like that at gigs too where it’s open, interactive and pretty transparent.” During the gig the engrossed audience was treated to songs from his upcoming third album Write It On Your Skin, such as the title track itself which shows that Newton is still at the peak of melodic song-writing. The track bounces along smilingly until you are singing along to the chorus while stamping your foot to an imaginary bass drum. Of the new album Newton says, “One of the things I would like people to take away from it, as I have, is this kind of driving vibe — which is really weird, because the first album is considered a surfing album and this one is a proper windows down driving album, which is really weird because I can’t surf or drive! I should do something I know about...like a walking album!” Or maybe learn to drive and surf I thought as he was doing bloody great in the music department! We discussed the album more and I discovered that Newton worked a lot with his brother who used to be a drum and bass MC and also Sam Farrar from the band Phantom Planet who performed the title track for The OC (California). Asked whether he has used any of this influence in recording the album, he told me, “Definitely, drum wise. I really like the mix of the technical stuff, the rhythmical element, being strong throughout the albums. But this one is quite interesting as the tempos have gone up generally throughout, so
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mathematically it’s faster but it’s considerably chilled.” Other new songs played later that night were Clouds (first single off the album) and Pulling Teeth, which had Newton demonstrating a flamenco version he was working on! A track that really got the crowd involved was Pick Up Your Broken Heart, which is a beautiful soothing piece of music for which we were given lead vocals for the chorus. Write It On Your Skin was released on 9th July, but prior to this an ep was released which ran into a bit of an issue. “The ep still came out on time, it’s just that iTunes had put it up before it should have, it was also labelled wrong. I was trying to change it and leave it up there, but you can’t so we had to take it down.” And being the stand up guy that he is he even threw an extra track onto the ep to apologise for the mix up! Prior to this tour and the promoting of the album, Newton hasn’t stopped during the last two years since the release of his last material and admitted to having finished the new album over a year ago. “I was ready to release the album recording wise last year, but we weren’t in a position to do it at the time in other aspects. If I had known I wouldn’t release an album for two years I probably would have taken a break...but alas I didn’t.” In the meantime he has been busy with the new addition to the Faulkner family, so I had to ask him if this has changed the way he works. “It’s made it more fun, it’s made everything more fun!” As well as showing off his new material during the set, we were more than happy to listen to as much old material as he could fit into his set. And we were treated to such greats as I Need Something, UFO and Dream Catch Me, which most people will be familiar with and to which we all sang dreamily along in unison with Newton. These are the kind of songs that make an album a cut above the rest. That’s what his debut album Hand Built By Robots was in my opinion, but I wanted to dig down on the interesting story of the naming of his second album, Rebuilt By Humans. “I fractured my radius and dislocated my whole hand which needed a plate, three big screws and nine pins. That’s the scar [Newton shows me the scar line down his arm]. All I did was fall over! My brother was off snowboarding, I was back home writing songs literally three feet from home and I’m the one who gets hurt! We moved the tour back three months, it was actually quite bold of my agent at the time to do that regarding promotion. My dad really enjoyed naming the second album, he sent me literally 30 texts a day and that was one of them, so credit goes to him for that.” An interesting link to the name of the first album
I thought. As all good performers, Newton threw in a few covers — much to the liking of the crowd — such as the classic Stevie Wonder song Very Superstitious which got everyone all sorts of funky, and the equally classic Teardrop by Massive Attack to which Newton added his own original take on the song and which can be found on his debut album. Everyone who hears this cover can nod their appreciation for what he has done while keeping the integrity of the song which he feels strongly about. I delved into the origins of deciding to cover and record the song. “The reason why I did Teardrop was because I was going to do the biggest radio thing I had ever done at the time. Then three days before I was told they wanted me to do a cover and I didn’t know anything other than (I Will Walk) 500 Miles by The Proclaimers, which was like three chords! So I decided to do Teardrop for that but I knew that it could be a dangerous thing to do. It was one decision to play it live, it was an amazing one to record it. I was quite brutal with people, I said I will record it but if it’s not of a certain standard then it goes no further than this studio because I am not putting out a bad version of Teardrop, that’s not what I want to do. I was pretty pleased with it though.” The set was coming to a close to the disappointment of the audience, as we were all having such fun and so was the one man band on stage filling the beautiful hall of the Coal Exchange with music that complimented it so well. My parallel interview too was coming to an end, so I decided to throw him a curveball. I gave him the option of creating or performing, only one for the rest of his life. “If that was recording or performing that would be so easy, definitely just perform...creating or performing though? Oh that’s really hard! That’s virtually impossible as they are both interlinked. So what am I supposed to do for the rest of my life, just this set? I do like a cover but...I’d have to go creating I think... Can I record it after I have created it? Am I just not allowed to perform it live to anybody? What if there are like three people in the studio? Does that still count as performing? What if was at a gig but we are making a live recording?” The man was clearly clutching at straws, he couldn’t give either up if he was honest as he loves every aspect of his work. There’s a saying “Love what you do and never work a day in your life” and that’s Newton Faulkner’s ethos on the subject. One thing I will take from this interview and gig is that People Should Smile More and I if you manage to catch him on tour or at a festival this year I would expect you to come away with happy memories.
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After his interview with Gary Numan for issue 14, Darren Warner reviews his recent live performance and reflects on one from the past Photographs by Darren Warner
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I
Coal Exchange, Cardiff
t’s October 1983 and the week had been leading up to this moment. Every hour of every day was fuelled with an intense excitement that meant nothing else at that moment in time mattered. I can’t remember the day, the week, or much of that year because everything paled into insignificance compared to what I was about to experience on this night. What I do know, more from the fact that this was a regular activity to us avid gig-goers than anything in particular to this one event, was that a group of ‘friends’ and myself met at Bletchley Station (the southern most town that was enveloped by the new city of Milton Keynes) and bought ourselves our cheap £2 night rider return tickets to London Euston station. After being rather annoying to other commuters with our spiked up dyed hair, black eyeliner and the obligatory black clothing (mine being very military if I remember rightly), we transfered to the Hammersmith & City line where for 80p we could travel to our destination at the end of the line and back. After climbing up the stairs of the underground we emerged onto the Hammersmith Broadway, a place filled with the clammer of London life with noise, pollution and cars coming at you from every orifice and the towering structure of the Hammersmith Flyover joining this melange of sound above our heads. God I loved London. In front of us was our destination, the famous Hammersmith Odeon with its Deco facade and strong architectural columns thrusting skywards. Of course, to get to it we could have taken the underpass, but being stupid we always decided to race the traffic, cars pounding their accelerators at the nearby lights challenging us to a death defying duel of metal against flesh, and race across the four lane road. Unbelievably we always made it, despite the odd swear word and sounding of horns, though one of my ‘friends’ wouldn’t be so lucky later on in life as the London traffic ate him up at the age of 21. The Odeon was always a seated affair, though tonight the audience was buzzing and nobody felt like sitting down as the lights dimmed and the music started up with Cedric Sharpley, the big haired South African drummer who I had always witnessed at every gig, pounding us into another dimension. Then he was there, the first time since retiring from the live music circuit two years previously at the immense three-night Wembley Arena gigs at which he said goodbye to this cruel world. This time his hair was blond, this time he was dressed in leather, this time he was a warrior. Gary Webb aka Gary Numan had returned and we had been there to witness the event. Switch to 2012, a bit of a stressful week to say the least. Rushing between classes, workshops and photographic sessions, while still trying to be a decent dad to my two beautiful daughters and a good husband to my darling wife. Taking the girls to brownies, guides, drama, swimming, piano and guitar lessons, while finding out the dreadful news that my oldest daughter has being having problems with bullies at her school. This is a different age, a different more selfish time and life just seems to be rollercoasting along like some sort of tsunami wrecking all in its path. The general population suffer from cut backs while the politicians claim massive expenses and place members of their own family in positions of power for job security, bankers drink champagne on our profits while Africans die of thirst. Oh yes, times have changed for this pair of eyes. Tonight Gary Numan’s playing the Coal Exchange, part of his greatest hits Machine Music tour, and it’s only after we drop the girls to the grandparents who are on babysitting duties and Gail and myself jump back into the car and head into Cardiff does the reality of the gig start creeping into my mind. It’s raining which of course it has done most of the summer and the interior of the Coal Exchange seemed to be
covered in vapourised water mist creating a feeling that we were on the set of Blade Runner. The support act, Officers, were quite enjoyable with a number of catchy tunes, but like most support acts very few people really cared because they wanted Numan. Another setting and they would have ruled the roost because they were excellent. Then lights down, music up and the shadowy figure that was Gary Numan strolled onto the stage to sing Berserker with video films playing on the screen behind him. Of course, the crowd went wild, not so much for the song but because it was Gary Numan. And into the set we went as he careered back and forth through songs from his numerous albums, collaborations and singles, initially flipping between Metal from the electronic Pleasure Principle from 1979 to The Fall from his latest release Dead Son Rising. This was a much heavier, harder, confident Numan who was displaying such diversity in his song writing that I can’t believe he has never been presented with a truly deserved God Like Genius Award. We had the single I Die You Die, then In A Dark Place from Jagged, Absolution from Exile, Rip from Pure, This Wreckage from Telekon as well as Warriors which was the opener of the 1983 set in the Hammersmith Odeon. Of course everything had got darker and heavier and the hints of Gazzer’s mate Trent Rezner from Nine Inch Nails was apparent, but that didn’t make this gig any less uniquely Gary Numan. His renditions of his first two Tubeway Army singles That’s Too Bad and Bombers had me bouncing for joy as I’ve never heard the first track live before and the version of Bombers played as part of the Touring Principle in 1979 was a much more stripped down electronic affair. Admittedly very few people around me knew these songs and looked perplexed, but that made me feel all the more worthy of being at this gig. Of course there were songs that were not included, the one I personally missed was Complex, but with such a vast back catalogue not everything can be performed. The one shock of the night for me was his rendition of the 1981 Dramatis track Love Needs No Disguise which as a single Numan had provided guest vocals for. When he had announced his retirement from live music in 1980 and after his Wembley shows, Numan’s backing band had formed Dramatis, and tonight he had sung Love Needs No Disguise as a tribute to Cedric Sharpley, the aforementioned drummer who had died earlier this year from a heart attack. My shock wasn’t that he played the song but why he played the song, as the news of Cedric’s death had never reached me. On his website Gary said of Cedric, “Not only was he a truly great drummer but a gentle, fascinating and funny man to be around. He will be greatly missed.” Of course we still got the classic hits shooting out at you like a never ending machine gun of music, including Cars and We Are Glass alongside the tunes from Replicas, one of my non-stop play list albums since I first bought it all those years ago, Down In The Park and the final song Are ‘Friends’ Electric. It takes a lot to really get me excited at a gig nowadays. It’s not that I’m jaded, it’s just I have so many tangents in my life now that music although is always a part of it, it needs to be really special to get right to my heart. In my interview with Gary Numan (in Issue 14) he told me that his show was different now and yes he was right. It was much more accomplished. That night at the Hammersmith Odeon in 1983 he had been given a 15 minute standing ovation after he had finished the gig even though the lights had been turned on, the signal for people to leave. Gary had to return to the stage to take his applause and basically but politely tell everybody to go home. Despite this, I’ll proudly say now that the Coal Exchange gig was a much better gig, I loved it. Gary Webb was no longer playing at being Gary Numan, he had truly become Gary Numan.
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Matthew Frederrick Acapela Studio, Pentyrch
This was our first time at this delightful venue in Pentyrch. Created from an old chapel with its warm wooden interior, it had been used as a recording studio for superstar harpess Catrin Finch and had now been opened up as a new venue for live music by her partner Hywel Wigley. So, considering PLUGGED IN mate Matthew Frederrick had recorded his 5-track ep Venus & Mars here it seemed appropriate that he used the venue to launch the CD. Matthew seems to take his influences from great piano players like Elton John and Billy Joel, though adds a cheeky element to his vocals which comes out as a bit of a stand up routine during his live set. Cracking jokes, making wisecracks, singing songs, they all seem relevant as part of his performance that gives you a sense of warmth for this young performer. His songs have a quirky edge which may not be to all tastes and you sometime just long for a straight love song or cover version, but that said what you do get with Matthew is a high standard of professional musicianship and originality that stands out a mile when comparing the music of his peers around him. This shows a true talent and this performance was evidence that, with the release of his ep, he is ready to take the next step toward the dizzying heights of mega stardom — but without Christie Brinkley or filmed temper tantrums in tow! DARREN WARNER
The Horrors
Great Hall, Cardiff Uni
Photograph by Darren Warner 26 22
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Waist skimming glossy hair and women’s clothing are the style statements of Londonbased Japanese four-piece Bo Ningen. Openers for the Sunday night gig, this was probably the best support band I’ve ever seen — due not only to the visual spectacle of their insane hair and guitar swinging, but also for their screamy style of psych-slash-stoner rock. The music is intense, loud, head-nod inducing and, most impressively, engaging from the very beginning. The band is undoubtedly eccentric, and the crowd at Cardiff Student’s Union loved the fact. These are tiny guys with big hair, a big stage presence, and a great deal of big sounding rock. My expectations were high for the headlining masters of skinny jeans, darkness and gothic garage punk. The Horrors for me are synonymous with the edgy, organ filled, sinister songs that made me adore their first record Strange House, released in 2007. But The Horrors of five years ago are not The Horrors of today. My favourites Sheena Is A Parasite and their tremendous cover of Screaming Lord Sutch’s Jack The Ripper were both missing from the set-list. The Southenders opened with Mirror’s Image and Who Can Say from Primary Colours, followed by I Can See Through You and Scarlet Fields from Skying, zig-zagging between the two albums for the whole show. I enjoyed the single Changing The Rain, the track Welsh animator and illustrator Pete Fowler has directed the video for, but on the whole I felt disengaged. The five-piece are undoubtedly polished, accomplished, and obviously capable of skilfully changing their style but I didn’t find their current lighter, shinier, softer brand of synth infused dancey, starry shoegaze rock to be instantly grabbing. There were nevertheless plenty of pleased people amongst the Cardiff audience, displaying their delight via dancing and singing along, and the light show made for cool visuals. It wasn’t a disappointing set for everybody, so perhaps I should give the albums another listen and see if the tracks grow on me. Ultimately, however, I just wish The Horrors would sing with horror-filled lyrics again. LISA DERRICK
Alkaline Trio
Photograph by Darren Warner
Solus Bar, Cardiff Uni A sea of black drowned the Solus Bar tonight waiting for the American punksters to hit the stage at a rather late time so I had time to look around me at the great unwashed that had come out. There was one bloke who was wearing a Misfit sloganed T-shirt with a large gloomy girlfriend in tow (never a truer word had been blazened across a chest before) and another guy who kept spanking his girl’s backside. Question: Do girls enjoy this display of affection? Answers on a postcard to... Luckily, the sounds of Tiptoe Through The Tulips started up and my derogatory attention was drawn elsewhere as the Alkaline Trio hit the stage with their raucous high adrenline music. Kicking of with We’ve Had Enough and Time To Waste, the vocal tended to get lost amongst the nihilistic guitars and drums but you got the gist. Power was the thing, fast furious power and like a rocket they shot through song after song, including This Addiction, Blue Carolina, Blue In The Face and Cringe. So, despite their numerous albums (eight in total) and distinction on the live music circuit, I can’t say what they were doing could be regarded as unique, but what they were doing was one hell of a kick in the balls. It got this old punk jumping and believe me, I don’t jump to any old stuff. What a great gig. DARREN WARNER
Richmond Fontaine 10 Feet Tall, Cardiff
Before the final song of a thoroughly engaging gig, Willy Vlautin felt an apology was due his audience “for depressing the hell out of you with my sad-sack songs”. Now admittedly, if you’re ready to party like it’s 1999, checking out a Richmond Fontaine show isn’t going to be right at the top of your to-do list. Nevertheless, there were plenty of laughs to be had between songs as Willy regaled us with tales of his mother’s degenerate boyfriends and his band mates exploding motorcycles. Vlautin and RF side-kick Dan Eccles, who provided able support on guitar, broke off from touring with the legendary Americana outfit, The Jayhawks, to play a stripped down set of songs, taken largely from their classic albums Post To Wire, The Fitzgerald and We Thought The Freeway Sounded Like A River. Hearing these songs, pared to the bone, allows for a fuller appreciation of Vlautin’s qualities as a songwriter. As a lyricist, Vlautin eschews eye-catching rhyme in favour of understated character studies. His songs are thumbnail sketches of America’s troubled souls, in which every well-honed phrase rings heartbreakingly true. So, on the touchingly sincere The Boyfriends, the single line “She said she wasn’t used to drinking, but I could tell she was” foreshadows the end of a burgeoning relationship. Similarly, on Lonnie, which is sung tonight with a desperate fragility, a man finds he can no longer make excuses for his deadbeat pal, “I saw your aunt in the store, she couldn’t keep from saying terrible things about you. But the thing is, they’re all true”. There are some up-tempo moments though, in the shape of the wonderfully catchy Post To Wire and its companion piece Always On The Ride. Disappointingly, the bands most “radio friendly” song, Capsized, is aborted after its first verse goes horribly wrong, with Vlautin blaming an embarrassing “brain lapse” before launching into You Can Move Back Here. The highlights of the gig though, are the twin morality tales, I Fell Into Painting Houses In Phoenix, Arizona (where a painter quits his job in protest at the exploitation of a Mexican immigrant, declaring softly “I didn’t show up the next day, I ain’t shit, but I ain’t that way”) and the strikingly sad $87 And A Guilty Conscience That Gets Worse The Longer I Go (a young man turns his friend in to the police to prevent a serious crime), both from the often underrated Thirteen Cities album. These are gut-wrenching songs and they serve to confirm that Vlautin has earned his place at the top table of American songwriters. Alongside Bruce Springsteen and Steve Earl, Vlautin chronicles the brutal effects of modern capitalism on the lives of vulnerable people. He steadfastly refuses to sanitise his songs or romanticise his characters. He writes with an un-flinching honesty, a rare integrity and an open heart. Tonight’s show is testimony to his mastery of the songwriter’s craft and further reinforces the view that Vlautin’s is the most authentic voice in Americana music today. KEVIN MCGRATH
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PLUGGED IN’s IGNITE featuring Kyshera & Falling With Style YMCA, Pontypridd
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n a quiet Friday evening, PLUGGED IN threw open the doors of the YMCA in Pontypridd to host the first (of what we hope will be many) evenings of performances and of learning potential. This was IIGNITE, an event that grouped seven different acts of very different styles together. First to the stage were the hip-hop duo simply known as DLouds. Not only do these guys look the part, but their music backs up their gangster image. The crowd were in awe of their lyrics and passion, and they proved to be an invoking first act for this event. Next up were Insync, an interpretive dance group. This was a very refreshing act to see in a culture filled with break dancers. Their moves were graceful and well paced. Also, with every move they made, they had me intrigued with what they would do next. The audience felt the same way and gave them the applause that these guys truly deserved. The third act of the evening was Rebecca James. I was personally happy at this sight, because if you give me a girl on a piano then I’m satisfied. Rebecca definitely lived up to the excitement I had. She started off her set with a cover of If I Ain’t Got You which perfectly showed off her singing abilities as well as her talent on a keyboard. After that powerful opening to the set, the shoes came off and out came the original stuff. Bad Guy was the first of these songs. With a strong tone and powerful lyrics that supported it, the crowd not only found a deep appreciation for this young artist, but wanted to hunt down this bad guy. She continued her set with a medley piece containing elements of I’m Not A Robot and Dynamite, which several members of the audience were able to sing along to in their heads. This made the performance more relatable and even more enjoyable. Rebecca ended her set with one last original piece, Tears May Fall. There may have been one or two tears in the audience once Rebecca reached her soothing climax and, with that, Rebecca left the stage. To follow this sensitive performance, we had the equally moving Making New Moves. This was a dance duo who, again, did not rely on street dancing for popularity. Instead they re-enacted the dance scene from Edward Scissorhands. These guys took the enactment very seriously, even to the point of dressing like the stars of this dance. Although it made the initial sight a little surreal, it made the dance which followed even more beautiful. They moved gracefully together, constantly staying in character. The entire sight was beautiful to watch and with the music accompanying them, it made this act my favourite dance act of the evening. The performances then moved on into the genre that I had been eagerly awaiting — rock. This was started by Kyshera, who although were missing their drummer still created excellent rock music within the YMCA. Singer James constantly told the audience that they were miles better with their drummer, even to the point that he made himself and guitarist Matt sound like they were bad without him. But in reality, they were fantastic — so if they are ‘miles better’ with their drummer, it can only mean that their full-on musical performance would be phenomenal. The connection these guys made with the audience was also fantastic. When they got to their newest single, Mannequins, they made a plea saying that they needed people for their music video. A plea that only one person answered — me, who went along to the shoot and now has a role in the video (not that you can see me as I’m a mannequin!). Still, the song itself performed acoustically was very enjoyable and the energy that they gave out during Mannequins as well as their other songs certainly made up for the loss of their drummer. That said, for the song Lust they invited Falling With Style drummer Thom Pike to the stage. The addition of Thom added a new level of craziness to the music and much excitement for several audience members. Kyshera ended their set with Coalition, which is, in my opinion, one of the most literal songs I have ever heard. For anyone expecting this song to be metaphorical about some form of union, it’s not. It is about the Coalition Government. This made their climax hilarious, where they sang lyrics such as ‘Watch out David Cameron’ and when they got to the manic random playing that any live rock song usually has, they sang even more obscure lyrics like ‘If you’re happy and you know it’ as well as referencing Justin Beiber’s Baby. With that magical madness concluded, the final dance act of the evening took to the floor. The best way to describe Elemental Force is to call it a constant dance contest. One at a time, each of the six members of the crew present tonight would take to the floor with insanely talented dance moves, each trying to outdo the previous. This left the audience stunned over and over and over. In the end, you wanted them all to win as they had proved their overwhelming talent to us. It’s hard to think of one single move which was the overall best, they were all that good. And with that display of chaotic body moving, there remained one act left — the ever growing in popularity, Falling With Style. These guys wasted no time in getting the audience totally pumped and in the traditional rock-out mood. The set started with Reckless, which began the funniest part of any rock concert, the mosh pits. The build-up to this action was done with so much energy, the audience unleashed this energy on each other with deadly charging. They then slowed everything down with new song White Flag. The audience were still hyped throughout this melodic ballad, but they weren’t killing each other, which is always a plus at a gig. Their performance was particularly memorable as several audience members were worshipping the guitarist Ryan James. Again, this is literal. They were constantly bowing to him during his solo. This made the performance a lot of fun to watch. Their set would have finished with the striking Contingency, however the audience demanded that they came out and performed one more song, which they did. Albeit a reluctant performance for the band, their final song was filled with the same level of energy, passion and chaos as their other songs. So on the whole this was a very popular and well executed event. There was something there which accommodated to everyone’s tasted but most importantly, the acts were top-notch. Every act managed to entertain the crowd in an effective manner and looked like they loved every second of it (even when it was forced). This was one of PLUGGED IN’s first events at the YMCA, and it certainly shouldn’t be the last. CRAIG McDONALD
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Photographs by Joy Powell, Chloe Lawless, Bill Wright & Darren Warner
Architects
Great Hall, Cardiff Uni The bands on the bill tonight are not the normal bands I listen too, or the music I sway towards, but I’m looking forward to these bands changing my mind. First up to grace the stage are Long Island based Stray From The Path, who kick the whole evening off with a bang and are immediately in the audience’s face with their quality of music. This quartet are a very good choice as openers, as the style and genre of music ties in very well with that of the other two bands playing. Next up is Rolo Tomassi. The sheer power that comes from the lungs of singer Eva Spence is breathtaking and captivates every single person in the room, whether they’re a Rolo Tomassi fan or not. During the set Rolo Tomassi play songs such as I Love Turbulence, Party Wounds and Howl. And it seems plenty in the room are fans with many mouthing along to the words and thrashing around the room in time to the music. The main act of the night is Architects, and while Rolo Tomassi may not have won me over, this band certainly do. With rhythmic guitars and a drummer not scared to smash hell into his drum kit, the noise that comes from this band is quite incredible. With a combination of singing and screaming, this band has a good variation and could probably win over any member of the audience. Architects traipse through a number of new hits and songs from their back catalogue, including Devils Island, Delete/Rewind and Day In/Day Out. At the end of the night, as people file out of the hall with ripped T-shirts, sweaty faces, blood stained clothes and newly brought merchandise, it is evident that everyone who attended this gig has thoroughly enjoyed it — whether they set out to or not. SEANNA FATKIN
Lonsdale Boys Club Clwb Ifor Bach, Cardiff
Downstairs in Clwb Ifor Bach is one of the best places in Wales to find hot talent brimming with potential. Opening up tonight’s proceedings were the fantastic local lads Ladies Love A Superhero, who were riding high having recently opened for McFly down in Plymouth with their pop-rock sound that is rapidly spreading out from the Valleys to further afield. Next up was young London starlet A*M*E, who at 17 has the world at her feet, with a blend pop music that is easily accessible to all ages. The backbeat provided in songs such as City Lights is a quirky take on modern electropop music which comes across as fresh, funky and very danceable. With a flawless live voice, a warm friendly personality, very easy on the eye appearance and, more importantly, well written songs that the crowd danced to, I’ll be surprised if in the next year this girl isn’t being played regularly on mainstream radio. Headline act Lonsdale Boys Club, who were fresh off their tour opening up for Olly Murs, brought their guitar based indie-pop to a small crowd who had gathered tonight. To my surprise the guys mixed light indie Britpop guitars and a bass guitar, churning out a disco funk sound. Whilst some songs like Hooligans and Hula Girls retain an old skool 90s hip-hop vibe, others like Caroline have a distinct chilled reggae vibe throughout. Admittedly it does sound an odd combination, but the guys glue it together perfectly and the results are outstanding. The vocals are sung stupendously and maintain a rapping style delivery as they are sung, especially on Light Me Up! With the boys being easy on the eye with the audience being predominately young female girls all giggling when the guys looked at them, they are just pop stars in the making. Tonight showed that the next wave of independently made British pop music is coming, and it is just as exciting as the last wave of talent. RITCHIE SAMUEL
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You Me At Six
Cooper’s Field, Cardiff To celebrate the Olympics coming to the UK, several major concerts were held across the country. One such event was held at Cardiff, which saw Kids In Glass Houses, Emili Sande and You Me At Six take to a stage in Cooper’s Field under the banner of Coca-Cola. I say concert, this event was more like a day festival. With the line up mainly being Welsh rock heroes, it was unusual to see mummy, daddy and their three young children within the crowds. In all honesty, this event was weird as Kids In Glass Houses performed at 4.30 in the afternoon. This meant that I completely missed them altogether (something which is considered blasphemy to a strong Welsh rock audience). The only act I saw was You Me At Six. But their passion and energy was that of three acts. The crowd had previously been calm and polite during the amateur performers, but once the band began they went crazy. You Me At Six looked majestic performing alongside the Olympic Flame, which added to their passion. When they began playing The Swarm, the crowd were at their peak. Front man Josh Franceschi treated the entire performance as a normal rock gig, even to the point of encouraging crowd surfing and mosh pits. For me, this is what made the act enjoyable — watching his ability to get anyone interacting with his music. The men in the audience got their chance to get their shirts off during The Consequence, as they were ordered to spin them in the air. Luckily I was wearing a T-shirt under a shirt so I kept some dignity. Technicality for the win! Franceschi told us that his mother was present and wanted Bite My Tongue along with Absolute Carnage — and with the flying disks, coca-cola bottles and balloon unicorns covering the audience, I believe he got it. The finale saw them play one of my favourite songs, Underdog! With this, the shirts went back off, the rockers surfed and moshed, and the fans sang along. It is a shame that due to timing I didn’t get the chance to see the other acts. But if they were as good as You Me At Six, then they would have been fantastic also. CRAIG McDONALD
The Subways
Great Hall, Cardiff Uni As I arrived in the Great Hall, I realised I was one of the youngest people in the venue, but I knew I was in for a good night. Up first, springing on to the stage, were a band called Turbowolf. This four-piece rock band from Bristol have a twist to their sound, which contains elements of rock & roll, psychedelia, punk and electronica. First the crowd just stood there watching, but by the end of their set they were jumping and fist pumping — great crowd warmers! On next was a four-piece alternative rock band from Sweden called Royal Republic, whose lead singer Adam Grahn got everyone to jump around and sing along, especially to Tommy Gun. This was the type of song you only need to hear once and you know the tune, it’s very catchy and a great song! I really enjoyed their set. Around half nine the crowd started getting bigger and the hall started to fill out a bit more, everyone was getting stoked for The Subways. Then the lights dimmed and the bass kicked in. Lead singer and guitarist Billy Lunn and vocalist and amazing bassist Charlotte Cooper entered the stage, jumping off the drum kit and dancing whilst Josh Morgan was bashing out on the drums. They came out swinging whilst the crowd instantly started singing and forming mosh pits, while they played amazing songs such as We Don’t Need Money To Have A Good Time, Kiss Kiss, Bang Bang and Rock & Roll Queen. Overall it was an amazing night, I really enjoyed one of the best Sundays I’ve had a long time. KERN BRIDGES
Photographs by Seanna Fatkin & Kern Bridges
Deaf Havana
Solus Bar, Cardiff Uni When I arrived at the venue, the queue was stretching all the way down the street as people had been queuing since 12 o’clock and we also had terrible weather that day, but it did not dampen down the atmosphere of excitement for the gig ahead. On first were a rock/pop punk band from Ellicot City in Maryland called The Dangerous Summer. They were a great warm-up band for the crowd, they were welcoming and got them dancing and singing, there were quite a few fans of theirs already so it made the atmosphere even better. Front man AJ Perdomo has a great quirky voice compared to most pop punk bands out today. I really enjoyed their set, which included Where I Want To Be and War Paint, and how they got the crowd warmed up. I couldn’t think of any better way of starting the evening. On next were a pop/punk American band from Michigan called The Swellers. Their music draws influence from melodic punk rock bands as well as alternative and indie rock from the 90s. The crowd were screaming and shaking the place down and singing so loudly, starting the first mosh pit of the evening that went on for two songs — one of the longest mosh pits I’ve seen in a long time. They played their well known songs such as The Best I Ever Had and Fire Away, and they really set the standard for the evening. I recommend people to see them live whenever they are back in town! Finally the moment had come, people were getting crammed on the barrier still waiting for Deaf Havana to take the stage, then the lights finally dimmed and the drums started to kick in, everyone screamed with excitement. Deaf Havana entered the stage and rocked it! They’ve become a better band since I saw them in 2009, they got everyone singing, dancing, moshing, the whole shebang! The main singer James Veck-Gilodi was nailing every song, especially their well known tracks Friends Like These, Smiles All Round, I’m A Bore, Mostly and Nicotine & Alcohol Saved My Life. The gig was a great success with great bands with a great atmosphere! KERN BRIDGES
Gomez
Great Hall, Cardiff Uni
SWN’s Canton Crawl Cardiff
Entire days of Swn served music are usually reserved for early Winter time, when the eagerly awaited annual festival takes place, so I jumped at the chance of attending a Spring taster. Little did the organisers or attendees know this particular Spring afternoon would come with arctic gusts fit to freeze even the hardiest of krautrock fans. Soon (Swn?) after arriving at the new not-for-profit art space The Printhaus, I realised my error in dressing for summer, so an early survival dash back home for hypothermia preventing clothes was essential. H. Hawkline, R. Seiliog, Tender Prey, Stacking Chairs, and No Thee No Ess were amongst the literally super cool line up, with Fist Of The First Man a particular highlight for me. The trio are a new project by Cardiff electro king Zwolf. Using his alter ego, composer Tom Raybauld can usually be found wielding a laptop to create his sound, but on this day he appeared with old school instrument in hand. Along with two band members, walls of technical guitar were created, which were intense yet engaging with reverberating psych edges. I couldn’t help be reminded of Right Hand Left Hand in terms of their vocal free, almost mechanical style, but there is something warmer about this threesome which doesn’t just leave you impressed by their playing skills but fully captivates. It was a tiny set of three tracks, but a big sound and a taster of an album with a lot more to offer, including layered electronica, scratchy dance beats, and vocals ranging from haunting to the bluesy funk variety. A listen on Soundcloud is recommended. Next up came much hand warming around mini-bonfires and drinking of hot drinks and alcohol at the onsite bar. A discount arranged at the nearby Chapter Arts Centre also proved popular as people ran across for between-band-hand-defrosting before gathering expectantly in fur coats, scarves and bobble hats to wait for Cate Le Bon. The weather seemed a perfect accompaniment to the Camarthenshire born performer’s set. Her penetrating glacial vocals and mix of quirky experimental spooky folk suited the wintry people huddle which had formed. Le Bon’s feels like music for the night and the dark, particularly when considering the often death-focused lyrics. Tracks including the title song from latest release CYRK were played, along with (my personal) old favourites from the 2009 Me Oh My. A few technical hitches didn’t annul the atmosphere, and as the sun set a magical set by Le Bon and band created a perfect full stop to the great Cardiff line up. Thankfully this festival experience, as with all Swn events to date, culminated in the comforts of sleep in my bed rather than a shivery tent. The lingering campfire aroma which had secured itself to my hair continued to remind me of a wonderful day for the remainder of that weekend. LISA DERRICK
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I jumped at the chance of seeing Gomez live in Cardiff as their Bring It On album was one that I often loved listening to during my adolescence. I’m disappointed with myself for letting them go off my radar, as listening to them live once again showed me they were still a force worth listening to. A faultless live performance saw the band playing a whole backlog of songs that I was unfamiliar with and also a few of my favourites, such as Get Miles, Whippin’ Piccadilly and Get Myself Arrested, the anthemic track that got the packed out grand hall singing and sloshing beer about in friendly beer sloshing fashion. Ben Ottewell’s vocal was as deep, gruff and bluesy as it ever was and I thought to myself, “I have really missed Gomez”. I think it’s time to top up my iTunes account! GARY BOLSOM
Spector
Clwb Ifor Bach, Cardiff Opening tonight’s gig was the Pixe Geldof fronted band Violet, who unfortunately played their moody indie acoustically led slung sound to a sparsely populated room. When Gabriel Bruce took to the stage things had started to liven up slightly. With a tall gangly figure and vocal style reminiscent of the late Ian Curtis, even adopting a similar style of movement on stage, he was an interesting surprise as the music was far from the doom and gloom of Joy Division. It had a twinge of the dreamy and swirly electronics of The Naked & Famous and had two very lovely backing vocalist/dancers. After the final song all three took advantage of the floor space and danced into the crowd with their synchronised dance routine. London based indie quintet Spector who were fresh off supporting Florence & The Machine earlier in the year, were headlining what was now a very full room. Fred (vocals) was sporting a geek chic look, with slicked back hair, round geeky specs and almost twee suit, which left me wondering if the substance could match the style. Luckily, it did — a pure flowing harmonious indie from start to end like a river elegantly flowing its course. With a delightful upbeat feel throughout and tight musicianship, the music was a perfect sound track to escape to. Fred inbetween songs delivers quirky and charming banter, sometimes in an awkward manner but is always very appreciative and thankful to the audience. The big finale of Never Fade Away provoked a huge audience reaction of singing and clapping and was nearly euphoric, certainly uplifting and sent home everyone happy. This is it seems a turning point to which British indie can be reborn again, tonight made me see that twinkle in my first true love (indie music) eye again. Will I truly ever fall in love with it again? RITCHIE SAMUEL
Photograph by Darren Warner
LostProphets
Motorpoint Arena, Cardiff
It’s a shame to see that tonight’s gig wasn’t a sell-out performance, whether that’s down to the new material since Liberation Transmission just not connecting with the loyal fan base or that the fans crave the nostalgia of nu-metal that the band’s roots are anchored upon. You have to give the boys from Pontypridd credit through, for every album they aren’t scared to make something new and if you think they can’t write a hit anymore, you’re wrong — look no further than Labyrinth’s mega hit Earthquake which they helped him jam out! The only support act tonight is Modestep with their dubstep-rock mash-up, who split the audience in half (including the PLUGGED IN team) rather like the old marmite debate. The energy and vibe coming from the guys was met with a fantastic response, their original material such as Sunlight and Feel Good signposts their career to the modern day Prodigy/Pendulum direction with crisp vocals and a very beefy backline chugging out the sound. However their set wasn’t completely all killer as there was a lot of filler thrown in too, with it turning into a DJ set for most of the time with them remixing chart tracks. Undoubtedly the potential is there, it is whether they can hit the standards their predecessors set before them. Lostprophets took to the stage with a rapturous applause from the audience, and launching straight into Bring ’Em Down provide an assault on the senses with lasers shooting from the stage, a huge flashy LED backdrop and more importantly a big rumbling noise that grabs your ears, that moves your feet and makes your mouth scream the countdown in the song. The next nine songs sees a mini greatest hit set with Rooftops, It’s Not The End Of The World… and We Bring An Arsenal all being aired alongside A Town Called Hypocrisy which sees Ian and Jamie command the crowd like Julius Caesar did his empire. Whilst the crowd went ape sh*t crazy for Shinobi vs Ninja Dragon to close the set, it is apparent the guys haven’t lost their touch in being able to entertain a crowd. As the world conquering Start Something backdrop goes up, the anticipation level goes up simultaneously. The Cardiff crowd, which includes members of Attack! Attack!, The Blackout and Kids In Glass Houses, are all eager to hear the album played live for the first time in its entirety in chronological order! As the singles such as Burn Burn and Last Summer, still sounding and feeling as fresh as they did 10 years ago, and Last Train Home merges seamlessly into Make A Move for the first time in years it is such a privilege to be experiencing this live. All the fancy lights and jackets are gone as the arena has gone back in time, the album is still as exciting, fresh and relevant as ever. Here’s hoping that any young musicians in the room were inspired tonight by the boys and the next Start Something is here in 10 years time. RITCHIE SAMUEL
LostProphets Hobos, Bridgend
LostProphets are one of the bands who can get away with announcing a gig just under a week before it happens and still fill the venue. When booking the tickets, I was lucky to be one of the 200 people who got a ticket within the first two minutes, for after that they were sold out. Hobos in Bridgend isn’t the biggest of venues, yet not a small one either, and when arriving at the gig it was already full with the support act up on stage and ready to roll. I had never heard of the band The Boy Royals, previously called Town, but they were awesome. This Newport band played an impressive set, almost as if it were played straight off a CD, including Eighteen and Teenage Sky, which I have now got into after downloading their tracks — and I advise you to check them out too! After their impressive set, there was a long wait for the headline act to do theirs. The whole crowd was expecting a set where they just played their new album, Weapons, but this was not to happen. The crowd went wild when Lee Gaze, Mike Lewis, Stuart Richardson, Jamie Oliver (not the chef, haha) and Luke Johnson made their way onto the stage, soon to be followed by Ian Watkins. The crowd went insane, the rip of the guitars echoed all through the building and out into the street. We were all amazed to hear songs like Last Summer, Still Kill The Old Way, Burn Burn and Last Train Home from their Start Something album. This was the warm up show to their upcoming BBC Radio 1 Hackney Weekend and what a start it was. There were some technical glitches with an extremely loud bass but it didn’t ruin the night. The unmistakeable sound of their Liberation Transmission album was also blaring through the speakers as mosh pits were kicking off in the crowd, soon to be broken up by the bouncers. The highlight of my night was when LostProphets played their cover of Labrinth’s Earthquake. You could tell that not a lot of the crowd had heard it but they enjoyed it. What an awesome night it was, for an event planned at last minute. And I have learnt from the gig that either LostProphets have very tall fans or I’m too small for gigs! CRISTINA SHUKER
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Coldplay
Etihad Stadium, Manchester OK, OK, I know that PLUGGED IN’s philosophy is to only cover Welsh bands or gigs in Wales, but this event was listed on the ticketmaster website for Wales & the North West of England, so I have a slight excuse to be allowed to include it here. Also, I wanted to see Coldplay and for some reason they weren’t coming to Wales, even though they could fill the unpronouncable Etihad Stadium (sign of the times or what), home of Manchester City Football Club, three nights in a row. I must ask, what is going on there? No Cardiff!! We do have the Millennium Stadium guys, 75,000 capacity, in need off a lot of money and used less than 15 times in any year! So armed with a carload of sandwiches we head off from sunny Wales (yes, the only day this summer) for the three-hour journey to the rainy north of England to watch what is deemed by many as one of the best British bands at this point in time. After parking the car and then doing a one-hour hike to the Stadium, we were ready to hear some good music — unfortunately, Marina & The Diamonds was not one of the support acts on this leg of the tour, so we had to wait til Coldplay came on for that to happen! Hitting the stage at 9.20pm seemed a little late for such a large scale event, but as I looked at the set list I had downloaded earlier that day, I realised that they’d dropped a song to stay on time, which can only mean...a technical hitch. Mylo Xyloto was a great opener and the power of Coldplay kicked into gear from the first note, while the audience who had been given wrist bands on the way into the stadium were treated to an amazing light show coming from the ends of their arms! The stadium was a multi-coloured display of pyschedelia with explosions of coloured confetti, blow up butterflies and fireworks. Basically we got what we wanted. In My Place, The Scientist, Yellow, God Put A Smile Upon Your Face, Clocks, Speed Of Sound — they all poured out from the four-piece who cavorted, sprinted and jumped around the stage, hitting every note perfectly and really pumping up the show. To bring up any particular highlights would be too difficult because the show itself was one great big massive highlight, though the tracks from the latest album stood out for me with the singles Paradise, Charlie Brown and Every Teardrop Is A Waterfall being fantastic renditions, while the mixing of the live performance with the video of Princess Of China featuring Rhianna sharing vocals with Chris Martin was a true moment of technical wizardry. Saying that, it was Viva La Vida that sent shivers down my spine as Will Champion bashed unashamedly on some poor defenceless kettle drums, adding such power to the live performance that the song had the audience singing it throughout the streets of Manchester as they emptied out from the Stadium at 11pm. I must admit, this is how stadium gigs should be done (please pay attention one certain Welsh group) with every member of the band really enjoying the live performance, moving around the stage, and even into the audience on a smaller stage at one point, and that passion spilled over into the massive audience around them. Admittedly, I had to take out a second mortgage just to afford the tickets which is quite bizzare as it seems the more you pay, the further away you are from the stage — which is why stadium concerts tend to lose out to the smaller gigs I love (well done LP for playing Hobos). But Coldplay did bring life to Manchester. DARREN WARNER
Francois & The Atlas Mountains Clwb Ifor Bach, Cardiff
Listening to Francois & The Atlas Mountains’ 2010 record E VOLO Love made me a fan, but watching the French male foursome live in the musical flesh was something quite different, an experience which propelled me into SUPER fandom. Their live performance offered so much more than the already wonderful Gallic chamber pop tracks that the album presents. In person, their formula of layering keys, African percussion, glistening electric guitars, electronic sounds and intermittently upbeat and wistful vocals becomes magical. On this night in Clwb Ifor Bach, the floor was layered with bright blankets, the multiple leads and wires connecting amps to instruments were covered in coloured cloth, the drummer wore bells on his legs, no socks on his feet and a sequinned T-shirt. They looked great — pleasingly eccentric, likeable, vibrant — and the sound was out of this world. The bones
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of the tunes were fleshed out with tiers upon tiers of beats, jangles and dance making morsels, which collectively elevated this show to nothing short of fantastic. The sparkling crown on top of the kingly set came in the form of synchronised dance moves the guys suddenly broke into at regular intervals. Surprising, yes, appreciated and massively entertaining, definitely. My cheeks ached with the force of an uncontrollable happy grin all evening, and to not dance would have been impossible. I attended the performance on a very rainy Wednesday night with no expectations. I left with memories of my number one gig experience to date, in addition to confirmation of why I love live music and will never stop seeking its pleasures and life affirming benefits. LISA DERRICK
Twin Atlantic
Solus Bar , Cardiff Uni Last issue, we quickly snuck in a Quick Chat and a small review on Twin Atlantic, as the deadline was so tight. We felt that it didn’t do them justice and so five months on with an upgrade from the 300 capacity CF10 to Solus Bar of 1,000 just short of a full house the guys returned and so did we. Opening proceedings were London-based Aussies [Me] with their rock sound infused with the smell of big arenas and science-fiction led melodies. With such a rich sound that competes with that of Muse and the theatrics of Queen, it’s not hard to hear where the sound originates from. But with such a sharp image and a huge and deep sound, it’s such a shame that the band name is just crap. I mean google that band name or search for it on facebook, it’ll throw you a massive curveball. Next on were English mob Lower Than Atlantis, who have their DIY punk ethos to combine with their punk-rock sound that’s as English as tea. With witty, intelligent lyrics, punchy hooks, low slung riffs and huge sing-along choruses the crowd were in the palm of their hand. Frontman Mike Duece played the cards dealt to perfection, with the audience getting rather rowdy and singing away at the top of their lungs, especially to Beech Like A Tree and dropping a Foo Fighters melody into Bug as the
songs seamlessly crossed over. A fantastic set, which gained them a load more fans. Tonight’s headliners Twin Atlantic had a mountain to climb after such an emphatic performance. With thick Glaswegian accents coming to life, they launched into opener Yes, I Was Drunk and set the standard for a top quality performance from Sam McTrusty and Co. With the singles and fan favourites like Caribbean War Syndrome, Edit Me and Dreamember being rattled through faster than a bullet being hurtled from a machine gun, there was no time for the audience to catch its breath. Against a backdrop of twinkly lights they delivered their songs, and the audience enjoyed other spectacular stage equipment like a confetti canon for set closer Free which added to the huge vibe that song produces and simply engulfs the room in. This would have been the highlight if not for a two-song acoustic set of Turning Into John Wayne and Crash Land delivered with such a perfectly gentle ferocity, powered and controlled, which simply left shivers all over your body. With such raw emotion in every song, you’re charmed and engaged every time. This is one band where the hype is matched by the substance on show. Only bigger and better things are to come. RITCHIE SAMUEL
Steps
Motorpoint Arena, Cardiff After reforming just months ago, Steps are back on a whirlwind tour of the UK, playing to sold-out audiences in some of the largest venues in some of the largest cities. Tonight, Friday 13th, is Cardiff, and the Motorpoint Arena is awash with flashing paraphernalia, home made T-shirts and matching fancy dress outfits. It looks like a massive hen party has gate crashed the place! But the captive and awaiting audience, many of whom obviously saw Steps the last time they played in Cardiff, had to get through the support acts first. The first support act to take to the stage, complete with flashing bulbs in her boots, is a solo performer called Shockolady, who sings five songs and completely ruins a cover of Elton John’s Bennie & The Jets. Nobody seems impressed by her. Second onto the stage is a
young lady called Kamaliya, who comes from Scandinavia. She certainly looks the part and her songs would not be out of place in a club in Cardiff, but she will not get anywhere if she continues to sing the way she is tonight. Kamaliya mimes. Quite blatantly. She wouldn’t look out of place on a Top Of The Pops episode from the Seventies. As Kamaliya leaves the stage, excitement reaches its peak. Steps have obviously allowed someone to spend a lot of money for graphics on this show, but with a show like this, graphics are as important as the singing and dancing. As are the outfits, and the futuristic number the group come on in first does not disappoint, or leave much to the imagination. The group begin with chart topper Here & Now, which seems quite apt for the situation they have found themselves
in over the last few months. After trawling through hits such as 5, 6, 7, 8, Summer of Love, Deeper Shade Of Blue and Last Thing On My Mind, each individual member does a short stint in which they ‘can thank the crowd personally’. These include songs by Maroon 5 and Journey but it is Claire Richards’ cover of I Surrender that completely blows my breath away. After this section, Steps trawl through a number of their other hits and close with Tragedy, which has every single audience member dancing along. As everyone files out of the Arena clutching memorabilia from the evening, or in some people’s cases the person they’re with as they’ve had one too many, every single person who attended seems to be leaving with a smile on their face. SEANNA FATKIN
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Wheatus
Muni Arts Centre, Pontypridd People started pouring through the doors at 7pm, dead on time, and there was a great atmosphere before it even started. First on was a very talented man called CornMo, I loved every minute of his performance. He started out on the keyboards, then merged to the accordion — it was a great range of sounds and really got the crowd going! On next was a rapper from America called MC Lars, who raps to vintage video game theme songs such as Super Mario, Tetris and many more. He was so unique and different the crowd got into him very quickly and started singing along to his catchy choruses. He was great I really enjoyed him. Then on came the music sensations Wheatus, what I loved about their set is that they had no setlist — they asked the crowd what songs they wanted to hear. I loved that a lot, shows how great they are and how they are so passionate about their fans. At the very end they sang their outstanding song that everyone was waiting for, Teenage Dirtbag. They played it for 10 mintues, including MC Lars rapping in the middle of the song, it was a pretty good 10 minutes! I felt my childhood came back to life, it was an amazing feeling! Whilst they were singing Teenage Dirtbag they gave us some facts, like how they were never No 1 in the charts ever — Atomic Kitten beat them to the top! But I’m sure they were number one in everyone’s eyes. I left the concert with a huge smile on my face and had a photo and my CD signed by them, what a great evening. KERN BRIDGES
Wheatus Photograph by Kern Bridges Then Here Lies The Enemy Photograph by Connor Scourfield
Sweatbox
The Factory, Porth Hosted by Young Promoters Network in The Factory, this Sweatbox fell on international Star Wars day — May the 4th. So with a crowd containing Jedis and other Star Wars themed media inside the venue, it should have been obvious what was going on to bewildered onlookers walking through the streets of Porth. Opening the show were Bridgend heavy rocker Station 13, who with a great chugging set of thunderous riffs and melodic vocals really hit a good spot with the crowd. Pack in a bundle of energy to give a live performance and you have a band with some great potential here to do bigger things. Next were Caerphilly crew Among Others, who with their variety of alternative rock got the crowd going. Having rapidly matured in age since I last caught them, this performance made me take them more seriously from the start, having nods to all the South Wales artists that have made it in recent years in their musical style but adding their own originality — completely brilliant. Our Tomorrow with pint-sized Hayden Hopkins at the helm brought the energy and proceedings up even further, by bringing some Miss May I and While She Sleeps musical styling to the proceedings. Hayden might be tiny but he can absolutely belt out a rumbling deep scream, which got the crowd head banging. This on top of some great technically sounding riffs and backbeat from the band made the future look promising. Then Here Lies The Enemy cranked up the volume, increased the slamming of fast paced vicious meltdowns and vocals capturing the balance of clean and unclean perfectly. The unique style of not having a direct frontman is an interesting choice and adds to the unpredictability of what will happen next. Another fantastic Sweatbox event, showcasing the best up-and-coming talent in South Wales which people really need to see. RITCHIE SAMUEL
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Jam With RoBina
YPN Acoustic Sweatbox, Muni Arts Centre, Pontypridd Young Promoters Network delivered a few firsts tonight — it was the first time ever that a paid gig has been held in the upstairs Gallery, secondly it was the first time YPN have had an acoustic line up and thirdly it was the first time I’ve ever seen a gig being played with graffiti artwork being the main backdrop. First on was Rhondda youngster Lydia Howells who at only 16 has the world at her feet musically. She has confidence and a natural gift for song writing, especially with Hold On which is about a cancer sufferer. Tackling big issues at a young age with such tender song writing leaves you licking your lips at the prospect of what is to come. The 6ft 9in Rhondda Valleys based Evan Gardner literally towers on stage, but was sadly suffering from flu tonight so sang as best as he could a mix of original and cover songs. Original track Stronger was about bullying, and Red Dress was about love — both showing great pieces of song writing skill at his young age. His set included an impromptu mash-up of Wonderwall/Brown Eyed Girl, with no practice or idea this was happening because he took on an audience request from a certain PLUGGED IN staffer — showing his strong eye for blending a melody. Ryan March from Bridgend recently riding off his successful EP launch came to showcase his talents, though again was sadly nursing illness. That was a real shame as his unique tales of teenage life were absorbing and had a real magnetism to them in his all-original set. Main support came from Rebecca James who used a keyboard to lead her set filled with originals and covers. Looking fabulous on stage with heels that defy the laws of physics to perform she grew in confidence as the set continued. Her voice was harmonious and the set ended with her being joined by a friend, Jessie Hallett, who came on stage with an acoustic guitar to perform Billie Jean to such an extent they completely re-wrote a classic. Long-time PLUGGED IN favourites Jam With RoBina then took to the stage, and this being our first time seeing them as a five piece the anticipation was high. The result of three new band members is an enriched sound with more melodic detail woven into the song fabric. New songs such as Lunatic are given the rich display that they deserve and old favourites such as If It’s Quick have had the handclaps of old eliminated as the percussion now adds a layer which fits like a glove. The colourful backdrop gave the magic of the songs an extra dimension too, showcasing great song writing that allows the words to be brought to life. Jam With RoBina now with a full set up and are comfortable with they sound they are producing. When they come to write album three it should be their best and most exciting effort yet. A great band truly deserving to headline the event and sending us home with songs and names firmly stuck in our heads. RITCHIE SAMUEL
Acoustic Sweatbox Photographs by Darren Warner
Photograph by Darren Warner
Professor Green/ Chiddy Bang Great Hall, Cardiff Uni
This was a different experience for me. Not the fact I was going to see a major rapping act (I’m an avid Jay-Z fan as featured way back in Issue 5) but this audience was new. I felt like I was at some club filled with high heeled short skirted drunk young ladies out for a good time pursued by steroid pumped hairless blokes with perfect muscles but spotty faces hoping to give the girls a hand with their quest. This wasn’t my usual gig-going crowd. This was different. On the stage, the DJ kept playing a track that finished with a sonic boom blast that made everyone jump around in ecstacy to which I felt like saying, “Calm down, Calm down, it’s only a record.” So it was a welcome relief when Chiddy Bang came on stage to dish up a portion from his Breakfast album (sorry bad pun but it lends itself to it). Out came all the old favs like Make Some Noise, Bounce, Bounce and In Da House, delivering an excellent performance which was both witty and powerful, especially the recent single Ray Charles. But Professor Green doesn’t do that cliche rap artist jargon. In fact, he came on stage with a full band in tow and pumped it up good and hard and showed why British Rap is harder but more accessible than the majority of the American stuff that is thrown out under the guise of being urban. He raps British plight, British street, British life, not some psuedo gangster grooves that have nothing to do with the Northwode Estate in the Hackney area of London he hails from. More Krays than Al Capone. It’s direct and straight at you from opener At Your Inconvenience via Need U Tonight and Monster to the major hit Read All About It which featured Emeli Sande on vocal on the original release. You could say they Professor Green’s delivery and voice has the same tones as Eminem, but Mr Manderson deserves better than that because he is quite simply the best rapper in the UK today and this performance proved it. DARREN WARNER
Red Room Therapy
Muni Arts Centre, Pontypridd This sell-out gig saw local band Red Room Therapy launch their new EP. It is safe to say that this EP is highly anticipated by all of Red Room Therapy’s following, and having heard the songs in advance I can say the fans are not going to be disappointed. However, before being able to hear the new songs played live, support act High Demand take to the stage. High Demand play a very strong set of original songs, with small portions of the crowd singing along like they’re played on the radio every other day. The band has had the misfortune of losing their keyboard player, yet they have come out of it stronger than ever before, and announce during their set that they are changing their name to Dare You To Move. Well worth looking into. With only one support act gracing the stage before them, Red Room Therapy come on to play a lengthy set for their audience, including the three songs on their new EP — Skin & Bone, Runaway and Life Goes On, which many people have begun to believe is a tribute to Stuart Cable who was friends with the lead singer. It is evident from the way Red Room Therapy performs on stage that they are destined for great things. They command the stage better than any other local band I have ever had the privilege to watch. The connection between the band members themselves is also very evident, as they perform with an amazing chemistry and make the crowd feel totally at ease by talking to them as if you were chatting to someone in a pub. This band is one to watch out for. If they’re playing near you anytime soon, go check them out — you will not be disappointed. SEANNA FATKIN
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PLUGGED IN
Feeder
The Coal Exchange, Cardiff The Coal Exchange is always an excellent venue to watch a gig. The architecture of the building made me feel I was in a space with history, not that Feeder needs the additional ambience to enhance their name. The Newport band played to a sold-out crowd of fans on this Friday in April. The long history of Feeder came out through the music, which started off with some of their newer songs from their latest album Generation Freakshow, which was released only earlier that week. Although the album was slated in several reviews, the fans at the concert seemed to revel in this latest musical offering from the group, while the energy of the band themselves gradually increased the level of excitement of the crowd as each song passed. The electricity reached a peak in the room as some of Feeder’s older more familiar music was played including Buck Rogers, Just the Way I’m Feeling, Insomnia and Yesterday Went Too Soon. Music from Generation Freakshow, if this concert was anything to go by, maintains the feeling and vibe of Feeder’s older music. Fans of Feeder’s older collection seemed to thoroughly enjoy the selection of newer music played at the beginning of the show. Of course old favorites invoke memories and feelings that the new songs just haven’t had a chance to acquire yet, which helped the crowd work themselves up. Watching the crowd support, enjoy and sing along with a local band with such an outstanding history makes me think that their history hasn’t been fully written yet, and we’ll see a lot more from them to come. JESSICA MCLENNAN
Saint Etienne The Gate, Cardiff
Saint Etienne are back in Cardiff after 19 years, and with a new album (Words & Music) to promote this show is one of the five dates they will be undertaking on a small UK tour. The group has chosen to perform in The Gate arts centre, which is a converted church that is very quaint with pews still around the edges of the venue and a dance floor in the centre — it fits the audience they are targeting. With the sell-out show being set in such a small venue, it takes on a very intimate feel. Tonight’s support comes from Colorama, and just a few seconds into the first song it’s evident as to why they have been chosen, having an eclectic mix to the sound they produce. Saint Etienne soon graces the stage with lead singer Sarah Cracknell wearing a silver sequined dress and white feather boa. The band has always been given an indie label, but they would be more suited to the pop genre due to the sounds and singles they produce. The two male members of the group (gadget gurus Bob Stanley and Pete Wiggs) remained at the back of the stage producing the sounds that compliment the singer’s voice so well. Playing to a video backdrop, they perform a combination of new and old songs. New single Tonight seems to already be a hit with fans as many are singing along to the words as if it was a major hit from years ago. The intimacy of the gig is increased when Sarah forgets her words to the verse of a song and describes herself as ‘crap’. After this slip up, it is so easy to like her and the band she fronts. Even though the last time Saint Etienne played Cardiff I was one, I enjoyed the show, have become a fan and recommend you take a listen too. SEANNA FATKIN
INME
Clwb Ifor Bach, Cardiff I’m hardly ever late to gigs and as per usual I arrived just after the doors opened to find the upstairs of the venue already packed full of people. The first band to open the show was Mojo Fury from Belfast, a four-piece band who worked their music around a synthesiser and backing tracks. I was disappointed in the lack of interaction between members of the band and also lack of interaction between them and the audience, which led to the crowd talking over the band and not listening to them. Lost Alone were next to take to the stage, and having never heard of them before didn’t expect one of the most impressive introductions of the night, epic is the only way to describe it. What was nice about this band is that between each of the songs they interacted with the audience, and each song was followed by a massive round of applause from the crowd. After a 20 minute wait, it was time for the main act to take the stage. Inme were ready to rock the mics. The first song, Invisible, started the crowd ‘moshing’ and head banging — what an achievement to have the crowd so gripped to your music that they begin reacting to the first song. When they played possibly their most famous song Faster The Chase and I was content. Then I witnessed something that I’ve never seen done before — Dave McPherson stepped off the stage into the crowd and made them make a walkway between both sides of the room and then told them to do the ‘wall of death’. The band began playing Silent Tragic Fiction and the ‘wall of death’ began — possibly one the most frightening experiences ever for me, a girl of 5ft 3in with a camera in one hand and a notebook in the other! They then calmed the mood down by introducing us to their new album Pride. There was a very heart-warming moment when Dave told us the meaning behind the song Legacy, which is about a girl who he loved and has sadly passed away. The set concluded on a more positive note when they played Nova Armada. I would recommend seeing the band whenever you can because they are not in the UK very often. All I advise is if you have an expensive camera on you at the time, avoid the many mosh pits! CRISTINA SHUKER
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We Are The In Crowd Photograph by Bethan Miller Black Stone Cherry Photographs by Kern Bridges & Georgia Brittain
We Are The In Crowd Solus Bar , Cardiff Uni
On the morning of the We Are The In Crowd show in Cardiff, excitement bubbles over the anxious fans all crowded around the venue doors. Come show time, anticipation ripples through the sold-out 1,000 capacity crowd of the Solus. Super Prime are first to take the stage, warming up the crowd with their sharp guitar riffs and their wistfully catchy lyrics. The pop punk trio from Boston, throw their everything into the performance, including themselves around the stage! Next up are The Summer Set who have a more relaxed feel to their music, nevertheless they still manage to get the crowd roaring with screams. The Arizona bred band kick in to their seamlessly catchy single Someone Like You, with frontman Brian Dales anxious to get the whole crowd involved as he reaches out his hand to an ecstatic fan. The Summer Set close with their hit song Chelsea, demanding to see everyone singing and dancing along and leaving the stage with a crowd displaying contagious smiles all around. Last to hit the stage was the headlining act We Are The In Crowd, as vocalist Tay Jardine jumps on stage the crowd arise with screams. The band open with Rumour Mill and the crowd immediately echoes back the words almost as loud as the band itself. Throughout their performance the New York born band crack jokes between each other giving a sense of friendship between the crowd and themselves. During the middle of the set The Summer Set’s vocalist Brian Dales comes on stage to join the band as they slow it down with new single Kiss Me Again. The crowd sways back and forth calmly singing the words with so much passion that it almost engulfed the room itself. Then the show descends into complete chaos when We Are The In Crowd end with old favourite Both Sides Of The Story, desperately getting each member of the crowd to sing back to them at the top of their lungs — I swear they could hear the chants up the road. As We Are The In Crowd leaves the stage with smiles plastered on their faces, the crowd are already running outside to their tour bus to get a glimpse of the pop rock rising stars. BETHAN MILLER
Black Stone Cherry Solus Bar, Cardiff Uni
When I got to Cardiff Solus, I realised that 85% of the crowd were the older generation, and 15% were the younger generation — my brother aged 11 must have been the youngest there, but he managed to get a good spot on the barrier along with the rest of my family. The first band on stage were a band from the Rhymney Valley called Revoker, they’re very metal and fitted the bill for Black Stone Cherry perfectly, they had quite a lot of fans in the crowd so there were plenty of mosh pits flying everywhere and also people crowd surfing! They did an amazing job at warming up the crowd, they really did the Welsh Valleys proud. Waiting for the headliners, the crowd was getting restless to the point where a boy was actually sick on the barrier, but was determined to stay there for Black Stone Cherry — what a dedicated fan! As the band took to the stage the crowd went insane and started to bounce off the floor, I could feel the barrier moving from behind me, it was amazing! They sang their well known hits, such as Blame It On The Boom Boom, Lonely Train and In My Blood, and also did a cover of Amy Winehouse’s Rehab. Chris Robertson’s voice and the rest of the band were on top form. The drum solo was also a favourite part for me, he was drumming for five minutes straight and his hair looked incredible when he was playing! Since they are my favourite band and seeing them for the first time, I’m very impressed and hope they do another tour and come back to Cardiff, I’m sure a lot more people will come to see them! KERN BRIDGES
Japandroids
Clwb Ifor Bach, Cardiff Packed, sweaty, pulsating with bodies and alt-punk/garage rock beats, Clwb Ifor Bach was bouncing with energy generated from this Pitchfork recommended Vancouver duo. They attracted a stack of gig goers despite this being a school night and were as noisy as a band double in numbers. Brian King (guitar/vocals) and David Prowse (drums/vocals) stated at the beginning, “We don’t do set lists or loads of talking, we play you as many tracks as we’re physically able to.” And that they did, tearing through 14 with what seemed like every ounce of vigour they possessed, accepting requests along the way from fans who clearly knew their material well. Tracks played included 2009 Post Nothing anthemic favourites The Boys Are Leaving Town and Young Hearts Spark Fire, mixed with material from the brand new release Celebration Rock such as The Nights Of Wine & Roses and Younger Us, and one of my favourites the heavy, sombre, insistent Darkness On The Edge Of Gastown from 2010’s record No Singles. Japandroids’ music makes you ache for an American road trip and a reversal in time to be an early ‘twenty something’ forever, such is its emotive youthful power. I am positive that if a DJ set had not taken place immediately after Japandroids’ slot, an encore would have been demanded by the hungry-for-more crowd and the dancing uber-fans in the front row would have moshed until the sun rose. The boys might have left town to continue their tour, but I hope they keep their promise to return to Cardiff and share their passionate playing again later this year. LISA DERRICK
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Before their Cardiff gig, PLUGGED IN caught up with Jonathon Lawhon, bass player for Black Stone Cherry How did the band come up with the name Black Stone Cherry? Some of us in the band wanted to smoke cigars so I went to one of the shops in town and I found “Black Stone Cigars – Cherry”. My grandfather used to smoke them when I was young and I liked the smell, so I bought those. John and Ben (drums and guitar) looked at the packet and thought “Black Stone Cherry” sounded cool and that’s how we chose the name. What inspired you to take up music and join a rock band? When I was a kid I saw Elton John do Crocodile Rock and I’ve always said since then that I wanted to be a rock star. My grandfather has always been one of my true inspirations as he used to play guitar. My dad also used to play guitar here and there and had the same guitar as Jack White from The White Stripes, so he used to find me every day locked in his closet with the guitar in my hands with four strings on, trying to figure out how to play. Musically speaking, I was inspired by Alice in Chains, The Beatles, Led Zeppelin, The Who and many other different bands, but the true inspiration was my family as we were all musical and very close together. What is your favourite song to play live and why? I’d say Maybe Someday. It’s a really simple riff, yet it’s very powerful and comes across really great live. The crowd is always very energetic when we play that song. Where is your favourite place to play live and why? Anywhere in the UK, mainly because people here seem to love rednecks. What message do you try to send to your fans through your music? It really all depends on the song. Songs like Things My Father Said came from thinking about my dad and what he went through when my grandfather passed away. We have a few friends who had lost their dads at a very young age too, so the song sends the message to appreciate what you have in your life and to show them that you love them because you’ll never know what’ll happen. Another song, Peace Is Free shows the concept that freedom is not free, but peace ultimately could be if everybody, all at once across the world, just settled down and realised that there is no reason to fight. We should share what we have to try and help some of the others who are less fortunate. What’s the best thing about being on tour? [without hesitation] Catering. But in all seriousness, the alternative to touring is work. I’ve done a lot of work, and touring, hands down, beats any job I’ve ever had. I get to play music every night with my three best friends and all of our crew guys are our best friends, we’re a band of brothers for sure. Getting the opportunity to spend my life playing music with the people I love, and playing to the people who love our music, getting to meet new fans and see new places, it’s the best thing in the world. What’s the craziest thing that’s happened to the band on stage? We played Wembley Arena in 2008 with Whitesnake and Def Leppard, and Chris (singer) turned around on stage and was kind of giving us all this odd look. He was trying to tell us that Jimmy Page was watching our set. We were all trying to tell him that he’s crazy and just because we’re in London it doesn’t mean that he’s watching our set. It turns out that we bumped into him after the set, and we had the opportunity to talk to him. He told us he loved our set and that he was a big fan of the band and we were all star stuck. I’d say that’s probably the craziest thing that’s ever happened. Who would you like to see yourself touring with and why? Going with any artist is always great, but I’d love to go with Foo Fighters the most. Their videos are always hilarious and they’re all just really cool, funny people. One of my friends who’s a photographer was taking some photos of John (drummer) and I came along to say hey. I was helping him pack his stuff away and he told me, “You guys and Dave Grohl are the only artists who have ever helped me pack my stuff.” Knowing that Dave Grohl, being who he is, is willing to stop and help someone out, it just shows his character. He’s not too washed up in his fame to take the time to help somebody out. Why did you blame it on the boom boom? (fan question) The band really wanted our own sort of cool term. There are so many different sayings that have become cool over the years. Sometimes you know where they came from and sometimes you don’t. We wanted to come up with our own thing and be able to say it in a kind of funny way, so that entire song was just based on the idea of us coming up with something cool as a new slogan or term people could use. Any advice to people in bands trying to make it big? Be original. Don’t listen to new songs and say you want to be just like that. Don’t listen to songs from 50 years ago and say I want to be the new version of that. If you want to draw influence from something, that’s great. Everybody does, it’s normal. But don’t draw so much influence from that particular artist, that you start becoming that artist. You’ve got to create your own ideas and be your own person, because if you don’t, you’re just another jerk creating the same type of music. Any last words? A big thank you to all the fans, thanks for all the support. We’ve had two sold out headline tours in the UK now, and it’s all thanks to you. We’re getting ready to start working on our new record, which we are hoping will be out sometime next year, so keep your eyes open! GEORGIA BRITTAIN
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Photographs by Darren Warner
John Davies aka John Mouse The Factory Venue Manager & Musician
Could you tell us about your role in The Factory John? Primarily, Venue Manager. The main duties of the roll are programming the calendar, promotion, marketing, artist liaison. I am also heavily involved in the business development of The Factory, adapting and developing the business plan, and involvement in funding applications. The Factory really seems to have turned around in fortune and reputation. It feels like a cool and established venue now. What do you attribute that to? Thanks for saying such kind words. A number of factors can be attributed to this. The premises under its former guise was never really a venue. It was a studio space that filmed a music show and then following the demise of that era the space was used occasionally for gigs, some of which were more successful than others. Our aim was to really make the space a dedicated venue, primarily for live music. We then wanted to develop the space and it has become a multi-purpose space. We have had pantomimes to mediums, running along side our calendar of live music and club nights. The turnaround can also be attributed to all the hard work that the staff here have put in making the venue a great place to watch live music, or have a great night out. Do you think your background in music has helped or influenced your role in any way? Without a doubt. I don’t think you can just jump into a post like this without any background knowledge of the Industry. I am in a fortunate position as I have a background as both performer and promoter, of both the roles. Both are co-dependent, and both have to work closely together to make a show a success. Have you learnt any lessons in event organising or promotion that you’d pass on to people looking to do similar work? Lots and lots, and I am still learning all the time. A key skill required is to keep to your strategy. Know your role, understand your goals and outcomes, and always keep them in mind throughout the process. Sometimes you can get bogged down with work load, details, unexpected situations, but as long as you know what your aims are then you are on the right path. Be hardworking, and most importantly be nice to people, they have to work with you. What event have you been most excited about to date, and what are you most excited about looking forward? There have been so many great shows from Secret Affair, to Bruce Foxton from the Jam, but the shows I am most excited about are the Wanda Jackson show and Rhondda Rocks. Wanda Jackson was conducted into the Rock N Roll hall of Fame in 2009 by Roseanne Cash, she is known as the Queen of Rockabilly. She toured with and dated Elvis! It’s such an honour to get her to play at our venue, she is only in the UK for another three dates. Rhondda Rocks is an exciting two-day event, and we will be welcoming the likes of Bow Wow Wow and Wibidi to the festival. What’s happening in the world of your own musical endeavours — can you tell us about any upcoming gigs, releases or collaborations? I am always writing new material, and it’s always being rejected by my label. PLUGGED IN writers have seen you squawk like a chicken in your gigs which we loved. Can you describe your live performances and what inspires them? When I play live, I like to entertain the crowd, and it’s a good way of deflecting my nerves, and insecurities that the songs are sh*t. Is there anything you’d like to add? Thanks PLUGGED IN for the chance to talk about The Factory, and we hope all your readers will come to visit us sometime. LISA DERRICK
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PLUGGED IN
Dexy’s
Parc & Dare Theatre, Treorchy
Hue & Cry
The Factory, Porth With excellent support from Darren Edwards, whose performance got tonight’s crowd into motion followed by the soulful Emily Cimber on her piano, 80s semi icons Hue & Cry entered stage right to perform a stripped down set of many of their classic tracks alongside a few new renditions. First thing though you couldn’t miss noticing was, well, the hair. The 80s was renowned for quiff haircuts with more gel and hairspray than ever needed for a certain production of the same name. Basically, Hue & Cry (Pat & Greg Kane) looked like a couple of bouncers from the Gorbals of Glasgow with their hairless heads. Time had most definitely moved on. That apart, nothing could deter you from Pat’s voice which dominated like a force over the aging crowd in The Factory. Even my friend Ian Thomas, the infamous “I’m from Treorchy” Rhod Gilbert heckler, was soothed into quiet submission by this soulful voice. When they sang one of their major hits Looking For Lynda the crowd was in raptures while Violently (Your Words Hit Me) had many people singing along quite happily considering the subject matter of the song. Hearing their voices Pat commented, “Beautiful singing. Doesn’t Tom Jones come from somewhere round here?” A comment that of course pleased everyone who carries a true Welsh heart inside of them, while I said, “No, he’s from Pontypridd down the road mate”, but I don’t think they paid any attention to me. Hue & Cry enjoy what they are doing, even making fun of their past, “This song only got a one star in The Face magazine”, and that enjoyment was lapped up by the crowd especially when they sang their most successful hits Ordinary Angel and Labour Of Love as well as their hit cover version of Kate Bush’s Man With The Child In His Eyes. The only disappointment of the night was Pat’s acapela rendition of the Nat King Cole favourite My Mother Told Me — great vocals and it would have been a great to start the gig, but in this case, a bit of a downer for the last song of the night. Still it was a brilliant gig and a brilliant event organised by The Factory. So good to see quality music returning to the Valleys and putting Porth on the map. By the size of the audience tonight, I’m not the only one welcoming this return. DARREN WARNER
On the sleeve notes for Dexy’s Midnight Runners’ largely forgotten 1981 single, Liars A To E, Kevin Rowland issued a bold (his detractors might say pretentious) mission statement: “I have records that make me cry, truly precious possessions. It is the ambition of the Midnight Runners to make records of this value.” Three years earlier, Rowland had experienced a moment of revelation when listening to Van Morrison’s Astral Weeks, “I hadn’t known music could express and mean so much. This was more than rock ’n’ roll, it was genius.” The rest, of course, is history. Rowland quit third rate punk band The Killjoys and formed Dexy’s, a band dedicated to playing and re-inventing classic soul music. Their debut album, Searching For The Young Soul Rebels, featured a bare-knuckled brass section punching out riffs, honed to perfection, by a notoriously puritanical Rowland. It sounded as thrilling and essential as anything that had followed in the wake of the Pistols. Its successor, Too Rye Ay, echoed the sound of Morrison’s Caledonian Soul Orchestra and spawned the transatlantic smash, Come On Eileen, which had the distinction of knocking Michael Jackson’s Billie Jean off the top of the Billboard Charts. Then came their 1985 album, Don’t Stand Me Down, and everything fell apart. Regarded now, as something of a post-modern masterpiece, it was savagely reviewed at the time. Its titanic failure sent an already emotionally disturbed Rowland over the edge. Cocaine addiction, bankruptcy and homelessness followed. Years, decades even, slipped by. Two hapless solo albums, any number of aborted comebacks and record company bust-ups left Rowland a forlorn and forgotten figure — until now. A remarkable 27 years on from the fiasco of Don’t Stand Me Down, Dexy’s are back with a new album, One Day I’m Going To Soar. It’s very title a re-affirmation that Rowland’s great obsession, to make music that has meaning and truth at its core, still consumes him. There is a huge anticipation amongst his devoted followers as Dexy’s take to the stage at the Parc and Dare, for the first date of their UK tour, but there’s also an unspoken recognition that Rowland’s latest comeback, his last chance at redemption perhaps, may be a step too far. That fear manifested itself in a genuine outpouring of goodwill — sporadic shouts of “go on Kev” were meant to offer support, but somehow only served to highlight the tension. The standing ovation that followed the opening song, Now, a slow-burning lament that turned into a slick soul number halfway through, was an expression of sheer relief that the gig was actually happening at all. It was a genuinely emotional prelude to what was to be an astonishing show. During the next two numbers, the starkly subdued soul of Lost and its equally anguished companion piece Me, it became evident that we were witnessing an inventively staged piece of musical theatre. Rowland was absolutely mesmerising in the lead role, underplaying with a hitherto un-guessed at panache. He was in good voice too, ably supported by Pete Williams, though with all that was happening on stage it almost went unnoticed. There were dramatic Pinteresque pauses, with Rowland, head bowed, frozen in the spotlight for what seemed an eternity, before raging back into song. Band members popped up out of nowhere to share vocals, before disappearing again into darkness. When Rowland paced back and forth the stage, muttering a stream of expletives, it was impossible to tell if he was still in character or about to pull the plug on the whole shebang. Suddenly, without warning, he was singing the saddest of ballads, Thinking Of You, with breathtaking accompaniment on trombone from Dexy’s stalwart, Big Jim Paterson. The audience, completely unfamiliar with the songs, were swept along by the sheer bravado of it all and won over completely with the arrival of Shakespearian actress Madeleine Hyland for a pair of show stopping duets. Sashaying on stage in a glimmering black dress, hands on hips, exuding the air of a Fifties femme fatale she had the stage presence to match Rowland’s. They performed an incendiary I’m Always Going To Love You, that ended with Hyland, lying sobbing on the floor, and then, a darkly comic, Incapable Of Love, before she vanished again into the shadows to rapturous applause. As duets go, this was more Shane and Kirsty than Tom and Cerys. The initial set concluded with three extremely strong songs. Nowhere Is Home revisited Rowland’s long struggle for belonging, “National identity won’t fulfill me” he sings with an air of defiance and is every bit as good as his previous take on the subject, the superb My Life In England. Free was a soulfully sung, strong-willed, declaration of self-determination, while It’s Okay John Joe’s moving monologue “I don’t show much of myself in person, but in my music I put it all in there”, confirmed Rowland was bearing his soul for all to see. The band encored with the slightly re-worked Old, and a joyous version of Come On Eileen, before returning with solid renditions of I Couldn’t Help It If I Tried, and Liars A To E. The planned finale though, an intended performance of This Is What She’s Like, arguably Dexy’s finest song, was abandoned when Rowland, taking exception to some inapposite behaviour in the crowd, frogmarched his band offstage. Nevertheless, the UK premiere of One Day I’m Going To Soar was a personal triumph for Rowland, the visionary. What might have been a grand folly, car-crash theatre if you like, was instead an exhilarating, challenging and uplifting experience. It was more than rock ’n’ roll, it was genius. KEVIN McGRATH
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New Releases, CDs, EPs, Demos & Downloads TAKE PART Take Part Young Voices 2012 (5 track ep) OK, OK, cute you may say, a CD released by a group of young people — yes we do remember the pure horror of the St Winnifred’s School Choir’s awful There’s No One Like Grandma — but you can come out of the toilet now because you don’t get that sweet cutsey schmoltz with these tracks. Written by the young people themselves (except their cover of Ticket To Ride), and with titles like Stars, Robot, Fireworks and Dreamcatcher, these come over as mature emotive beautiful songs that highlight the lives that they are living rather than some adult’s version of how they should be thinking. Yes these are young voices but you get great harmonies, great arrangements, great lyrics — this is a surprising piece of beauty that you wouldn’t expect. Suberb! DW MISS DAVINA LEE It’s A Love (album) The opening two tracks show off the soft vocals of Miss Davina Lee, but we hear a different side to her by the time the third track comes in full of attitude over the distorted guitars — E-Indie at it’s core but haunting all the while throughout. Closing the album is a song called This Love sending you into a dreamy stasis with the vocals acting as your mantra. GARY BOLSOM THE SCISSOR SISTERS Magic Hour (album) Opener Baby Come Home is pure pop music, infectious and deservedly the lead track — a beautiful blend of foot tapping instrumentals and camp-pop co-written by John Legend. Keep Your Shoes On introduces you to the Boys Noize influence, sounding like an underground dance track with that perfect fist pump beat and a thumping bass drum throughout. Direction changes once again with Inevitable, which sees the Pharrell Williams collaboration come forth with his trademark smooth R&B vibe. Four songs in and globally in-demand producer Calvin Harris comes on board for Only The Horses, the album’s standout track with its enormous electro beats and big chorus over a huge keyboard-led melody. Year Of Living Dangerously brings super-hot DJ Diplo to the fold, adding his hip-hop/electronic funk beats to a slow sensual dance groove. Let’s Have A Kiki brings a nod to the NY gay scene, Madonna and 80s pure hedonism. Onto Shaddy Love and Azealia Banks drops her rap on this, with Jake trying his hand too, and Ana Matronic leading a soaring chorus. San Luis Obispo is a semi-stripped back musical affair, with a feel-good camp-pop sound. Self Control is a 90s-influenced dream tune that is impossible not to dance to, and Best In Me has a glossy pop feel. The Secret Life Of Letters sees another collaboration with Joan Wasser, making a very fragile song sweet and dreamy. Album closer is Somewhere, with synths mastered by Yorkshire’s Stuart Price (ABC, Human League). Overall this is a great alternative dance-pop album, but I feel it’s a real shame it’s let down with too many collaborations. RITCHIE SAMUEL
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THE CALLING CARD Everything You’re Not (album) Kicking off with the sound of a helicopter that evokes the feeling of a war-torn Vitenam this soon transforms into a hefty hit of decent indie rock — a “does as it says on the tin” type band. Basically you get decent catchy tunes with decent lyrical vocals on a very decent album, epecially the opener The New Kings Of This Town. I must admit, this isn’t just a song title because listening to The Calling Card’s Everything You’re Not, I reckon this is more a statement of fact. DW RUSTY SHACKLE Wash Away These Nights (album) It’s hard to pigeon hole Rusty Shackle to a genre as it varies throughout this album that includes rockabilly, pop and gospel, to name but a few. 3AM is a killer of an opener and who in their right mind doesn’t love a banjo? Strong throughout, the album varies its style making it an album you won’t get bored of listening to. The vocals remind me of the pop-punk era of early 2000s — it shouldn’t work, but it does! GARY BOLSOM NEWTON FAULKNER Write It On Your Skin (album) Newton’s latest offering is vivid, colourful, charming, witty and very likeable. His great voice shows immense control and range throughout the entire album, whilst he plucks at the strings of his guitar so very precise and fragile. The album is a very enjoyable and delightful listen, showcasing emotional rollercoaster songs with a great full use of the acoustic guitar too. RITCHIE SAMUEL CONFORMIST Paid To Fake It (album) I must admit, I think I was asleep dreaming of a performance by Aphex Twin playing covers of Caberet Voltaire songs. Then I woke up and realised Paid To Fake It was playing. Conformist, as far removed from the name he has chosen to perform under, doesn’t confirm at all. This is an uncompromising juxaposition of edited sounds over nihilistic beats and angry guitars that is far from easy listening to a tender ear. But then that probably isn’t Michael Simmon’s plan, the man behind the music. I have had everything thrown at me in my life and and this is a brilliant use of obscure technical wizzardry that leaves you spellbound which is nothing but unique. Not easy, very challenging, but who said life should be easy. Unconformist excellence. DW YNGVE & THE INNOCENT The Sadness Of Remembering (album) This album is not as sad as the title suggests, it moves along slowly to start with but never dragging. Piano and guitar driven songs such as Draw A Line and She Will Be Mine moves the album along nicely, especially the latter which has a shuffling franticness about it — kind of like a hoedown in a saloon. The album gives me a bit of a Bob Dylan feel at times with the song structures and sound, but that’s not a bad thing. GARY BOLSOM
TENACIOUS D Rize Of The Fenix (album) The D are back with another humourous offering and are to metal what the Mighty Boosh are to indie music — essential. The blend of comedy and metal that really doesn’t take itself too seriously, just look at the album cover and work out what the ‘fenix’ is made from. The music complements it too and is honest in telling you not to either. Musically it’s in safe hands with Dave Grohl stepping back at the kit, whilst Black and Gas just play the best parts of rock and metal. Have a listen to self titled track and Deth Starr which are certainly stand out tracks. Yes the humour is a bit crude at times, but the real question that should stop you from buying this is whether you like Jack Black’s humour or not. RITCHIE SAMUEL LOUISE LATHAM Reclaimed (album) I’m going to say it straight away before I say anything else because this is a strong statement of pure fact. If Lousie Latham isn’t being played everyday on National Radio within a year, I should give up this job altogether. Why? Because Reclaimed is such an excellent showcase of exceptional talent from this Cardiff born singer/songwriter that with one listen you’ll totally understand what I mean. Her beautiful ethereal voice over such tender arrangements of piano, guitar and the cutting sound of the cello, makes for such easy listening pleasure you can’t but help being swallowed up whole by her music. Ecstatic. DW DONOVAN WOODS The Widowmaker (album) Widowmaker is a no-frills singer-songwriter album, emotionally charged, mellow and moody at the same time. Beautifully crafted songs with a personal touch to the lyrics without being intricate for the sake of it. Donovan paints a picture with every story throughout the album. GARY BOLSOM
THE GOSSIP A Joyful Noise (album) The third album from the trio, which is very slick and glossy, but that’s what you’d expect from the Xenomania team (Girls Aloud, Kylie Minogue). The album comes across very dancey and has moved away from the stripped back indie-punk-rock of old with a real 80s-synth pop vibe of the Pet Shop Boys. Whilst Get A Job is stand out track,
the lack of Beth Ditto’s extraordinary vocals makes the album disappointing. It’s a shame the collaboration should have reinvented pop music. RITCHIE SAMUEL
second power-drive that is Sail Me Down The River. Death has the perfect blend of contrast for an album without it feeling imbalanced. GARY BOLSOM
THE MISSIVE High, Wide & Handsome (4 track ep) Here comes rebellious teen angst rock that’ll blast you out of your depression-filled bedroom. Showing great skills of arrangement and musicianship these superb abrasive tracks are held together with the glue of the angry, aggressive, but somewhat tender, vocals of Emma Gillespie (a true rock name by far). Yes, you can tell the influences, Gossip being one, but that is forgiven, because these guys transend all that — because what we have here is a commercially viable sound with backbone and bite. Watch out people, because The Missive will be knocking, no, kicking down your door very soon. DW
FRESH & ONLYS Long Slow Dance (album) Overall this is a very dull drone of an album that unusually has a quite frantic drumming style, though it also has a slowed down indie feel, quite reminiscent of Artic Monkeys’ 505 track and Kasabian’s Goodnight Kiss. Although the feel is there, it is actually an enjoyable flowing start to finish listen, check out tracks Long Slow Dance and 20 Days for a good idea of a taster. Enjoyable, but nothing here is ground breaking. RITCHIE SAMUEL
THE MAGNETIC NORTH Orkney Symphony of Sound (album) An album created by stories and places around the island of Orkney, this concept album transports you to a place of eeriness but still safe, a place where the fog rolls into hills and along the shores, a place familiar, a place like home. The male and female vocals work so well together at creating a oneness, while the album is very orchestral at points. GARY BOLSOM THE TWILIGHT SAD No One Can Ever Know (album) Hailing from Kilsyth, Scotland, this indie band step you into a time machine in the days where indie was king. The whole album stays steady at one pace throughout and the vocalist has licks of Morrisey and the late Ian Curtis too. With so much pain and hurt being expressed effortlessly in the tracks, it really takes you back to indie music’s hey day. It’s just a crying shame that this album will probably slip under the radar, because it’s fantastic. If you love your indie dark and moody, then this is an essential listen and purchase. RITCHIE SAMUEL HELEN BOULDING Calling All Angels (album) The second full lengh outing from singer/ songwriter Helen Boulding shows a true developement and ability to create a beautiful arrangement of songs. Yes the Joni Mitchell influences are there, but you actually say that of every young lady who picks up a guitar on the planet today — and I don’t see it as a problem. What makes this album so good is that she doesn’t fall into the trap of repeating the same as before and shakes up her approach to each song as highlighted by the excellent single The Innocents. Helen Boulding, Helen Boulding, Helen Boulding — remember that name, because it will be on everyone’s lips soon. DW JIM LOCKEY & The SOLEMAN SUN Death (album) Quite a rampant punky/folk album with a slight twist of country. Whenever the guitars aren’t distorted the acoustic doesn’t half get a hammering at times. Other times it can be quite sweet and melodic on such tracks as Wishing Well and Everything But The Heart which is a stark contrast between the 19
FEIST Metals (album) I love it when artists almost challenge you to listen to them with Feist being a case in hand. Not your average album, no it’s far beyond that with it’s cajun/country style guitars, hand claps, horns and emotive vocals it’s more of a road trip of sound senses.This album is an excellent example of laying sounds and elements against each other to create beautiful music, as if you’ve stepped into a dusty windswept town in a New Mexican western landscape. Think of that scenario, and you are thinking of Feist’s Metals. Compulsive listening. DW FUTURE OF THE LEFT The Plot Against Common Sense (album) The Cardiff noise rockers return with their third outing, that has their signature very low played and dirty sounding guitar. With Andy “Falco” Falkous’ unique vocal delivery and the band’s sharp song writing ability with clever word play and imagery, this album is a joy to behold. The album feels very minimalist instrumental wise, only allowing any extra instruments where really needed. At times the album feels a bit repetitive in style, but it’s this unique sound style that keeps it glued together. Failed Olympic Bid, is a standout track on the album — if there are any Exit_International fans out there, you’ll love this.. The rest of us should really give it a chance .too. Fantastic album. RITCHIE SAMUEL . CEREMONY Safranin Sounds (album) Playing Safranin Sounds is like listening to a list of influences of the musicians. Firstly we hear the shoegazzing style of groups like Chapterhouse, then we catch the guitar grooves of early New Order (slightly given away by the band’s name), while occasionally we get Jesus & Mary Chain’s Upside Down blasted through our ears. Which basically means Safranin Sounds is brilliant because I love all these sounds. Of course, there is another element that gets thrown into the mix, which is their own personality, but that doesn’t make the songs unique. Just excellent. DW THE VOODOO TROMBONE QUARTET The Voodoo Trombone Quartet (album) This album is pure instrumental, with the trombone being the prominent instrument at all times — if you couldn’t guess from its name! The rest of the quartet are heard
in the form of guitar, bass and keyboard. Whether the trombone wants to be jazzy, all moody and cool, or upbeat by venturing into ska, it’s perfect at making happy/sad moods. The way the music is composed so smooth and beautifully at times you can feel it’s a backtrack from a TV programme, and on further investigation I found that the band have provided tracks for BBC programming! Not something that’s commercially set alight, but certainly a great ideas album for those interested. RITCHIE SAMUEL LUKE RITCHIE The Water’s Edge (album) God this guy is good. From the opener The Lighthouse, a sun drenched beach laiden piece of imagery, to Song To Sunday, the beauty of voice, harmonies and amazing instrument arrangements carry you through a blissful journey of pure delight. Mixing laid back grooves so smooth you could float away to uptempo acoustic jives that bring you lovingly back down to earth this is definitely an album to play while cuddling your partner in a darkened room. But watch out, it’s that good you’ll be married with five kids before the end of the album! Excellent stuff. DW
THE BEIJING GANG Tan Qi (album) The brainchild of London based Chris Bemand who, after visiting Beijing’s vibrant club scene didn’t understand why they were playing generic Western cultured music, decided to blend different styles of dance with classical Chinese instruments. Instantly it’s a 10/10 for originality and a far step away from anything ever heard on these airwaves. Surprisingly it works, with the instruments at the fore of every song and a nice chilled out dance feel, sort of like an Ibiza chill out track. For a fully appreciative experience, just close your eyes and let the music take a hold. RITCHIE SAMUEL EVAN GARDNER This Is My Friday (EP) A young singer/songwriter who delivers his craft with a voice that is raw and unique and delivers his art with a singing rapping flow. This EP is still raw and the songs are predominantly about being in love, but it’s Girl From New York City that really showcases his talent to the fullest — a haunting track about a fan who committed suicide. It’s from the heart and very honest, showcasing the range, control and power his voice possesses. Whilst the rest of the EP is a bit of a love-in, it’s a stark contrast between loss and love. Evan is still raw talent, still moulding himself and his craft into shape — and the next batch of original material will be an interesting listen. I can’t wait and so shall keep listening. RITCHIE SAMUEL
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POKET TREZ Rockin (download) This dance track has elements of Nine Inch Nails about it as it crosses between electronics and screaming guitars. Though there is very little change throughout the song during its 5 minute 54 second length, except for the tuk-tuk production that hits around the four minute mark, there is something that hypnotically keeps your attention drawn into the music not allowing you to turn off. DW
SUPERGENE A Division In Class (single) The melodic rock popsters from Camarthenshire return with this highly intelligent piece of production excellence, Supergene are at the top of their game. They know what buttons to push and pull you into their music with the power of their screeching guitars and the shouted tuneful vocals. Division In Class is a very strong piece of excellence, an offering of sacrificial epic proportions that is both gutsy and flesh ripping. Brilliant. DW LINKIN PARK Living Things (album) A statement of fact — Linkin Park can do no wrong and Living Things proves it. So go buy it. I could end this review there but I suppose I should explain myself. I’ve loved everything that LP have produced, including the previously slated album A Thousand Suns, and rate their Projekt Revolution performance at National Bowl in Milton Keynes as one of the best gigs I’ve ever attended. Living Things once again shows us their uncompromising beliefs spewing out a torrent of angst and anti-political backlash that stands high and proud for people’s rights. They are there for the downtrodden, the bullied and neglected, making gun totting music with the power of a nuclear attack. It’s this stand against corruption, whether it be politcal or financial, that makes Linkin Park one of the best rock acts in the world today. Living Things proves once again their right to that status. DW ZICO CHAIN The Devil In Your Heart (album) A British rock band from London that is heavily influenced by those Americans. It’s a real murky affair with a Frankenstein sound that’s been mish-mashed together
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to a really fantastic album. There certainly feels a massive Pearl Jam influence in terms of the sound combined with vocals of early Jared Leto (30STM) with a massive American accent being sung through being real gruff. The album is a real great listen for those who love everything American about rock. It’s a stormer from start to finish but doesn’t push any boundaries and at times can feel a bit cover band-ish. RITCHIE SAMUEL BEACH HOUSE Bloom (album) Beach House create drifting, dreamlike music that flows around like the shifting sands on a sunny coastline in California, with enchanting ethereal voices hauntingly calling to you like mermaids in the nearby surf. Bloom is their fourth album offering to date, and is also their best so far as they really take their gentle step into the world. Taking elements of Mazzy Star and enveloping them in the joys of This Mortal Coil and the Cocteau Twins, Bloom is blissful, beautiful and brilliant. DW BEST COAST The Only Place (single) Best Coast’s latest single is singer Bethany Cosentino’s life-affirming homage to her homestate of California, and particularly its sun-drenched surfer/slacker lifestyle. It begins with a touch of poetry “We were born with the sun in our teeth and in our hair” and builds to an irresistible chorus of “We’ve got the ocean, got the waves, got the sun, we’ve got the babes”. Some devotees may regret that the band’s trademark lo-fi thrum has been subjected to a bit of spit and polish, but Best Coast certainly scrub up well. This is a pristine pop classic. KEVIN McGRATH
ARTISFICTION Get ’Em To The Butcher/Inanimate (downloads) OK, the song title Get Em To The Butcher kind of gives it away, so if you are not of strong spirit, look away now. North Walian rap rock purveyors of noise combine speed vocals that bounce alongside guttural screams, shouts and growls. Exciting, nihilistic and angry as hell, I think these guys need a visit to the pyschiatrist because they have been watching too many Saw movies. Inanimate is a more tuneful track that develops into a full-on rock attack by axe weilding maniacs. Great fun —so have a listen. DW
OLD SAMUEL 4.05am (ep) Nothing to do with our Social Media manager and resident writer Ritchie, this is a cool, lush and smooth piece of beautiful note-perfect nu-country style Americana that is perfect to listen to. Evoking memories of another place the four songs, Boy, I’m The Ghost, Parts and Alone Tonight, are excellent in both arrangement and production, with husky vocals that fit the scenario perfectly and bring to mind travelling through Bruce Springsteen’s Nabraska. Pure musical excellence. DW
As Part of PLUGGED IN’s Engagement Gateway funded OUR VOICE Magazine project (see News Page) we gave one group of participants the opportunity to review some single releases. Do be warned, though, as they said, “We’re from the Valleys, so we tell it as it is.” ALT-J Tessellate (single) This is a melow background tune that doesn’t really intrude on your mind. With hints of The Verve coming through it felt a little bland in places so didn’t effect us emotionally. This would be pefect to hear in an advert where the focus isn’t removed from the action that is happening on the screen. Could be a grower, but on this one listen we felt that it had no real impact on us. OUR VOICE Group THESE REIGNING DAYS Changes (single) Though the song sounded over produced and tended to lack elements of originality, this was a very versatile track with it’s duo voices building to epic proportions. We could hear this as a song that opened a movie while the titles are displayed, holding the listeners in suspense. Should this be the next James Bond theme? OUR VOICE Group SCHOOL OF SEVEN BELLS Lafaye (single) Though the song starts with a powerful entrance it needed a good injection of viagra to keep it going. The tune didn’t alter running the same line throughout, while the vocals tended to be lost and lacking in character giving a real feeling of a repetative mechanical production. Shame really, as both the tune and idea were there and we know that earlier tracks from SOSB have been excellent. Just not this one — sorry!