vibrations magazine (april 2012)

AprilDocument3.0.indd1 11/04/201222:25

04 Editorial06 British Wildlife Festival08 Hawk Eyes12 Sam Airey15 Leeds Fest with Melvyn Benn17 Passport Control19 New Pose - Old School Fanzine20 The Spills24 Honour Before Glory28 Reviews34 Live Reviews38 Wombeatz - This Women’s Work

Vibrations is

EditorRobWright-bert@vibrations.org.uk

DesignBenMcKean&NiallHargravedesigners@vibrations.org.uk

Picture EditorBartPettman-bart@vibrations.org.uk

Reviews EditorSteveWalsh-records@vibrations.org.uk

Live EditorTimHearson-live@vibrations.org.uk

Web EditorMikePrice-webed@vibrations.org.uk

Web DesignSamHainsworth-ask@samhainsworth.com

AdvertisingTonyWilby-tony@vibrations.org.uk

Founded and Published byTonyWilby-tony@vibrations.org.ukJackSimpson-info@vibrations.org.uk

www.vibrations.org.uk

ContributorsTomMartin,RobWright,SteveWalsh,BartPettman,TimHearson,NeilDawson,MikePrice,BenjaminManey,EllieTreagust,AaronJones,CarlFleischer,JadeTill,RochelleMassey,SamSaunders,EmmaQuinlan,GilesSmith,GregElliott,ChrisEnsell,BenjaminRutledge,MartinHaley,JonathanLees,JenessaWilliams,StacieLloyd,HanaWalker-Brown,GaryWolstenholme,KateWellham.

Cover PhotographHawkEyesbyTomMartin

The Search

Vibrations is looking forAdvertisers-2000magazinesseenbymusicloversacrossLeeds.Contacttony@vibrations.org.uk

Writers,Photographers,ArtistsandSubeditors-Comebeapartofit,contacttony@vibrations.org.uk

Send demos in to:SteveWalshVibrationsMagazineEigerStudiosNewCravenGateIndustrialEstateLeeds

Helloreaders,

Thisismysecond,possiblythirdattemptataneditorialasthefirsttwowereshit.I’mnotpromisinganythingmoreforthisone,butI’mhopingithasmoregagsandswearinginitthanthelasttwo,whichwerealmostfreeofboth.That,Ithinkyou’llagree,justwon’tdo.

Anotherreasonforanotherbiteatthecherryisthatthisissueissochocfullofqualitywriting,photographyanddesignthatIfeelIwouldbeinsultingtheeffortsofallconcernedbyturninginahalfarsedpieceofwork.

Itshouldbewholearsedornothing.

Imean,justlookatthisqualitypublication.Goon,closeitup,oglethefinelookinggentlemenonthefront,feelthequalityofthepaper,marvelatthesuitabilityofthetypeface,thensearchfortheprice.

Stilllooking?That’sright,youwon’tfindone.

Thenonceyou’vefinishedthisgothroughthemagfromstarttofinish–youdon’tevenhavetostoptotakeapissasthesizeofVibrationsisdesignedspecificallytobeheldonehanded,leavingtheotherhandto...no,stopthat.That’sjustnotright.Oh,youdirtybugger.

Areyoufinished?Good,thenIshallcontinue.Ourincumbentgovernmentiscurrentlydoingit’slevelbesttostripthejoyfromeveryone’slife(look,I’mallforapriceperunitapproachtoalcoholaslongasitliterallymeansjustthat–40paunit,soapintofAbbotAlewouldbe£2.00–aperfectlyacceptableprice.JaipurIPAwouldbejustunder2.40andthatIcoulddefinitelylivewith)andprovideuswithquitefranklyshoddyvalueformoney(Iknowmyminimumwagewillincurlesstax,butI’mgoingtoendupspendingthedifferencemadeonoverpricedunderbrewedbeers–thanksalot,Camel-leg)butwehereatVibrationstowersarededicated,yesDEDICATEDtoprovidingthesamevaluethatwealwayshave.

Letmepresentyouwithalittleequation.StephenHawkinssaidthatyoulosehalfyourreadershipforeveryequationyouincludeso...gladyoustuckaround,bothofyou,butI’mgoingtoloseoneofyounow:

Qualityofproductoverpriceofproductequalsvalue.

Well,allyoumathematiciansoutthereshouldknowthatifyoudivideanynumber(exceptzero)byzeroyougetinfinity(actually,I’vehadafewargumentsaboutthis:ifyoudividezerobyzero,doyougetone?Thinkonthat,ifyouwill)soconsideringthatyoupaidnothing,nip,zilch,nix,nishpenceforthispublication,youareholdinginyourhand...infinitevalue.

Well,fuckmyoldboots.

Ihopeyourealisehowluckyyouaretobeabletotouchtheinfiniteonabimonthlybasis,andhereatVibrationsTowerswewillendeavourtoprovidethesamelevelofqualityEvery.Bloody.Time.

NowbeforeIletyouoffthehook,afewhello/goodbyes.Firstoff,say‘hello’toournewdesigners,BenandNiall–Ithinkyou’llagreethatthey’vedoneastirlingjob–longmaytheyreign!AndgoodbyetoLeedsGuide,cruellycutoffinitsprimeby...venturecapitalists,Ishouldn’twonder.Booooooooo!

Nearlydone.Acoupleoffestivalstonotefordifferentreasons:LiveatLeedspromisestobeafineaffairagainthisyear–Imayventureout,butIamafraidIamtoooldtodothemarathondasharoundthatisL@L–mightjustholeupinavenueanddrinkuntiltheyaskmepolitelytoleavebecauseIhaven’tgotanarmbandandasmallpuddleisgatheringaroundmyfeet;andthatPeterWatermandebacle,ShitFactoryLive–Steps,2untalented,JasonPissingDonovan,RickCockingAstley?WTF?Whenthereisnomoreroominhell,thedeadwillwalktheearth.StayinLeedsandgoandseesomequalityoldschoolbands,likeHumanLeague,Heaven17andTheLevellers(guiltypleasure–greatliveband)atMFest–yes,Morrison’s;Iknow,hardtobelieve,butthere’llbesometopscrantoo–veryimportantforamanofmyexpandinggirth.

Sooffyougo–enjoythemag.Ifyoureallylikeit,thinkaboutgettinginvolved–bepartoftheinfinite...

Rob WrightEd with god-complex

5Image by

Herein be a recollection of the sixth and final British Wildlife Festival. May she rest in peace. Feel free to reflect on these heart-warming and fitting testimonials from Benjamin Maney, Ellie Treagust and Steve Walsh. Oh well, there’s always Brainwash…

Friday 2 March – Brudenell Social Club

Firstup,Super Luxury,alo-fifourpiecethatstartedtheirsetwithwarmupscreamsanddiscordantguitarnoiseleadingintoamurkyopeningnumber.Notricks,frills,ormelody.Isupposethepre-gigstretchesshould’veforewarnedthecrowdthatthefront-manwouldspendthesetinamongstthem,wailingfromtabletops,withnoregardforthemicrophoneleadthatgotentangledaroundatleastfivethroats.It’sallfunandgames‘tilsomeonegetsdecapitated,boys.

Bad Guys.Double-headedguitars,brightredjumpsuits,classic,clevermetal.Theymanagetousedroninginterludes-oftendetrimentaltoaliveshow’satmosphere-perfectly.Somuchsothatoneoftheirbreaksledtoadistinctlyprogrockoutrothatmust’velasted17minutes.

Imagineifyouwill,themostpainfulheadacheofyourlife.Now,imaginereallyquiteenjoyingit...Ultimate Thrush,asIcanbestdescribethem.Threepeopleshouldn’tbeabletomakesuchahugesound,butwiththehelpofasmallclarinetandachaospad,theymastershort,gut-punchingpost-punk,notforthefaintheartedorthosepronetohyperventilation...SomewhereinruralAustria,Mozartturnedinhisgraveastheclarinetwasdesecratedinsuchaninnovativefashion.

Threegirls,oneguy?Divorce’smusicwasevenfilthierthananadultfilmtitledthuswouldundoubtedlybe.Thetonegotlowerandthecrowdmovedinwhentheirhomegrownbrandofcaptivatingdebaucherytookhold.Theinevitablebrawlbrokeoutinthecrowd,mirroringtheunharnessedadrenalineoftheheadthrashingalt-punk-metal-hardcore/indefinable-brashness.

Finally,if‘liveviasatellite’isthefutureoflivemusic,thenitshouldALWAYSbeDisasteradio.Playingasetcontainingthemostcheerfulelectronicaevermade,headliningforthedarkestmetalbandsontheplanet.Becauseit’dALWAYSbethishilarious.Benjamin Maney Saturday 3 March – Brudenell Social Club/Royal Park Cellars

Well,whatavariedprogrammeSaturdaywas.ItwasreassuringtoexperienceafestivalattheBrudenell/

RoyalParkwheretheactsdidn’tallsoundthesame.Thatdoesn’tmeantheywereallgood,butanyline-upthatincludesYugoslavian Boyssmacksofsomethingreasonablyradical.Theprogrammed6.30startmighthavebeenalittleearlyfortheirset(whichinvolvedthedestructionofvariousfoodstuffs)buttheywerealreadyrunninglate.Theirsetincludedfishfingers,twosalamibatons,chips,atunasandwich,fourdrummers(twoofwhichwerewearingson-of-Godthemedrobes),acowboy,amod,oneassassinandalotofpinkhair.I’dbetemptedtosuggesttheirmusicalvariationbetweensongsisnonetooimportanttothemorthecrowd,buttheywereeasilythemostentertainingbandoftheday.TheyscreamedandcavortedtheirwaythroughthesetanddespitehavingdoubledinsizesinceIlastsawthem,itwasn’ttoadddiversity,justtoadddrums.Immense.

Teeth of the Seaprovidedaverydifferentslantontheplayingofsongs,bothmusicallyandpractically.Idoapproveoftheirstagelay-out(allmembersinonelineacrossthefront)andalthoughtheythrewtheirallintoatypicallyelectronicset,Icouldn’tgetasexcitedastheywere.Theirmusicdidhaveadecentall-encompassingqualitytoit,butmoreinaphysicalsensethananythingelse;itfeltalittlelikewewereunderwater.UnlikeYugoslavianBoys,thisformeisonebandthatisbestservedrecorded.

Thenextband,Cold Pumas,Iknewabsolutelynothingabout,buttheyturnedouttobeanotherofthenight’spleasantdiscoveries.Theyplayedmotorikrhythmspackagedupinanindieimage(whichdidnotdothemjustice)toaslightlyunresponsivecrowd(whoalsodidnotdothemjustice).Thereweresomeprettysoullesssoundingvocalsthatechoedoverthemusic,butasaset,itwasfarmoreabsorbingthanTeethoftheSea.Theonlydownsidewasthattheycouldbeviewedasalittledullcomparedtosomeoftheotherbandspresent,butformethediversitywasverymuchappreciated.

NextwereHookworms,whobroughtanentireshipmentof‘60spsychadelicrockwiththem.Anditwasloud.Very,veryloud.Therewasalotofreverb.InmynotesfromthesetIhavewritten“Ohwowasongended.Ohwait,noitdidn’t.”Idon’trememberanyactualmomentsofsilence.ItwasatthisstagethatIregrettednotbringinganyearplugs(butwhat’srockandrollaboutthat?).Theygotveryintotheirmusicwhichisdefinitelyagoodthing,butunfortunatelyIdidnot.

ResolutionswerequicklydashedbyBlacklisters,andIhaven’tseenmanyworsebandsattheBrudenell(apartfrommaybeShiningat2010’sBrainwash).Therewassuchanirritatingwaveofarrogantnonchalancethatcamefromthesingeranditwasimpossibletofocusjustonthemusic,andforawhileIwaswonderingwhetheritwas

performedinallsincerity.Onebeginstowonderwhatthepointofwritinglyricsisifyou’rejustgoingtoshoutthem.Whynotjustshout?Itwouldbeeasier.ToquoteJohnBetjeman,“I’msureit’salldonewiththebestpossibleintentions,”butitdidjustthrowmebacktomyTrivium-infusedyoungerteenageyears.

Andfinally,theverylateheadlinersZun Zun Egui.Withtheirusualbizarremixofstyles,languagesandfootwear,it’shardtoknowwhichgenretodefinethisbandby.Ofallthegroupsthatperformedthisevening,theycameacrossasthemostsophisticated(thoughIsuspectthisisbecausetheyare).It’sreflectedintheirsongwritingability,whichhasthembuildingupsongsoutofagreatmanylayersandelements.ThesongsareprettyunpredictableandhalfthetimeIhavenoideawhatheissingingabout(becauseit’sinadifferentlanguage,notbecausehe’sshouting).I’veseenthemcreatemoreatmospherethanthisbefore,butitwastheendofthenightandrunningverylate.ApartfromYugoslavianBoys,theywereeasilythemostinterestingbandoftheday.Ellie Treagust

Sunday 4 March - Oporto

ThelastdayofthelastBritishWildlifeFestival?Sayitain’tso,Adam….

ThejaggedmathrockofMagnapinnagetsthingsunderway.Theyplayadry,gnarlykindoffunkthatfeelslikeyoushouldbeabletodancetoitbutindoingsowouldsurelyleadtomultipledislocations.Fortunatelythatleavesthesynapsesinyourbrainfreetorevelinthejoysofband’sexplosive,unpredictablemusic.

ManchestersextetStanger Sonutiliseabraceofkeyboardsandextensivepercussiontoopenwithaformlesswashofnoodlingthatthreatenstodisappearupitsownjackplug,untileverythingmorphsintoagigantic,drivingkrautrockygroovethatseemstostopprematurelybeforeitblowstheroofoff.Thereafterthebandtakesimpleideasandworkeachintoasimilarlyepicbutcontrolledfrenzy.LankysingerGarethSmithstandslikeheshouldbeholdingacigaretteandreadsratherthansingshissongsinadeadpan,detachedvoice.Themusicandlyricsalmostsoundlikethey’re(partiallyatleast)improvisedandsongsseemstostopafteranodfromSmithratherthananythingelse.

JeffTSmithmayhaveabandonedhistruckloadofinstrumentsandeffectspedalsforthisgig,buthe’sstill

tradingasJuffage.So,apartfromviolaaccompanimentfromJennaIsherwoodonthefirsttune,it’sjustJeff,hisuncharacteristicallyreined-inguitarandhisfantasticallyquirky,idiosyncraticsongs.Andwhatatreatitturnsouttobe.TherealwaysseemedtobeamismatchbetweentheliveandrecordedversionsofSmith’ssongs;it’squiteasightwatchingSmithassemblinghislivesheetsofnoisebuttheracketdoestendtodetractfromtheactualsongs.Here,withouteventheminimalmusicalbackingusedondebutalbum‘Semicircle’,thesongssoundalmostfreeformandinvestedwithafragiletension,Smithmodulatingthevolumeandattackofhisguitarandvoicetocreatedramaticnewreadingsofthesongs.

It’sdifficultnottolikethesoundofGalaxiansthumpinginstrumentaldiscofunk,butthisduoofJedSkinneronsynthsandprogrammingandMattWoodwardondrumsdon’treallydevelopwhattheydomuchbeyondtheopeningbarsofthefirsttune.

Ontheotherhand,Bearfoot Bewaresongshavesomanyideasandsomuchenergycrammedintothem,theyclearlyfinditdifficulttocontainthemselvesintheirgivenformandsoundlikethey’dbehappytothrowthemselvesoffacliffjustforthehellofit.GuitaristTomBradleyandbassistRichardVowdenbouncealloverthestagewhenthey’renotyellingintotheirmic,andMichaelOsbournetriesdesperatelytoholdeverythingtogetherfromhisdrumstool.It’sathrilling,riotousridealright.

SheffieldquartetWoodersonhavebeenknockingaroundsince2008butit’shardtoseehowtheirderivativeguitardrivenrocksongshavemanagedtosustainsuchalongcareer.Thesongsarebuiltaroundmusicalandlyricalclichésandseemdevoidofanyrealsenseofdynamism.Dull.

LondontrioGum Takes TootharewellestablishedontheEuropeannoiserockcircuitandprovideafittingclimaxtothefestival.ThomasFuglesangandJaxonPaineplaytwodrumkitswithonewiredupandthesoundfedthroughhomemadeelectronicinstrumentstobemanipulatedandmessedaboutwithbyJussiBrightmore.Thedrumsandtreatednoiseproduceagiganticsoundthat’spartnoiseritualandpartecstaticrave.BrightmorepunchestheairlikeatrippedoutDJ,hismangledvocalsbarelyheardoverthethunderingdrums.Steve Walsh

7Image

Last time we met them, we covered them in mud and inadvertently showered them with glory. Now it looks as if they are about to take the world out for dinner and dancing and seduce the hell out of it. Rob Wright tried vainly to resist their charms in the name of quality journalism...

IamnotsureifyeoldemansettingofTheVictoriaHotelisthebestplaceformeetingoneofLeeds’mostintense,ultratechyetsoftlyspokenmetalsbands,especiallyseeingasitisaSaturdaynightandtheplacehassuddenlyfilledwithsuit-wearing,bellowingtwats,butitishandyforfreeparkingonaSaturdaynightandservesDandelionandBurdock.Thisarethesortsofthingsyoustartmakingdecisionsbasedonwhenyougetold.

ThoughIamsurethatIwillnotbethankedforthis,HawkEyesarenospringchickenhawkseither–IhavefondbutvaguememoriesofthemastheywereoneofthefirstbandsIeverwroteareviewof,backin2005.Oneofthemworeamask.ThatmuchIremember.IalsorememberthatPaulusedtodrumaswellassing,butnowMattReidisintheband...

“MattisnolongerinHawkEyes,”announcesPaul,whosebirthdayistonight(soyoucanimaginehowpopularIwillbeasaresultofkeepinghimfromhisirresponsibilitiesandfestivities).Woah,letmejustgetmyheadaroundthis.I’msurroundedonallsidesbyHawkEyesinthisdarkwoodpanelledboothanddon’thaveabeerinmyhand,andiftheykeeplayingannouncementslikethatonme,ImayneedsomethingalittlestrongerthanDandelionandBurdock.“It’salltotallysanctioned,”Paulreassuresme,“he’sjustdecidedhewantstodosomethingelse,”whichseemsentirelyinkeepingwithHawkEyes’ethos,ifthereweresuchathing.SteppingintoMatt’sshoeswillbetheabsentSteveWilsonofJapaneseVoyeursfame.Interestingtimes...

Forthemorekeeneyedreadersamongyou,IshouldpointoutthatthisisnotthefirsttimePaul,RobandRyanhavegracedthesepages.Backin2009,theymadethecoverwithapicturefromDannyNorth.JokinglyIsuggestthis‘made’them.

“Ithinkifwehadn’tgotthatatthattime,”confessesPaulquitesincerely,“afterscurryingawayforyearsandyearsforbasicallyourownbenefitandthenallofasuddenpeople,inthistownespecially,weresaying‘thisisquite

good’...We’rereallygratefulforthat.Wegenuinelyare.”Ifeelfairlythrownbythisandhaveastrongurgetoshufflemynotesorsomething.Tocovermyembarrassment,Igoontosayhow,regardlessofthat,2009wasagoodyearforthemanyway:asigningtoBrew,alivelyslotatLeeds,thezombievideo...andthenanabruptnamechange.

Roblaughsatthis.“Wedon’tliketomakethingseasyforourselves.Thethingis...”hepausesalmostdramatically,“wedidn’treallylikethenameandmovingforwardwecouldseesome...technicalproblemswithit.”

ChickenhawkwasamilitaryoperationinVietnamwhichiscurrentlyundergoingthecelluloidtreatment.ItisalsoanAmericantermforapredatorygaymanwholikesyoungguys.

“Thataswell,”saysRobuncomfortably,“ifwewantedtotakeourmusicoverthere...peopletalkingaboutabandcalled‘Chickenhawk’andallthatconnotation...”heletsithangforamoment,“butitwasn’taboutpanderingtowhatweneededtodo...it’swhatwehadtodoourselves.”

HawkEyesareveryclearonthispoint–thereisnograndschemeinvolved;infact,Paulgetsquiteincensedabouttheimplication:“There’sneverbeenaplan,”hesaysfirmly,”andwe’vebeenveryluckytogetwhereweare–we’veworkedhard–butwe’veneverhadthestructureandbackingof...corporatemusic.We’vegottowherewe’vegotbydoingabitofthis,abitofthat...andthere’vebeenmistakesthatwe’vemade...yeah,it’sbeenprettymessy,butunlessyou’reactuallygeekyenoughtogoandreadaboutit,you’renevergoingtoknowhowmessyit’sbeen...butthat’spossiblywhywestillexist.”

Eventhoughtheysaythereis/wasnoplan,the(almost)re-releaseoftheirdebutalbum,‘Chickenhawk’asModern Bodiesdidseemtohaveacertain...shapetoit?

“Wegotpickedupbythismanagementcompany,”saysPaul,“theyasked‘whathaveyougot?’WeplayedthemtheCDandtheysaid‘hasanybodyheardit?’Sotheywantedtorereleaseit...andweweretotallyagainstit.”Somuchsothattheydon’tactuallycountModern Bodiesasaseparatestudioalbum.Paulsighs.“Itfeltlike...stalling,notgoingforwardorbackward,itdidn’tmakeanysensetoustoputitout...andsomeoneshowedusthereality–we’dsold200CDsbutwho’dactuallyheardit?”Asabodyofwork,itactedasacallingcardandarequiem,itseems.“Modern BodiesisChickenhawkisdead,itwon’thappenagain...notthatweknewthatatthe

DREAMERS, NOT SCHEMERS...

Wordsby

time...”Paullaughsfreely,consciousofhisownnearslipintocontradiction.

ButModern Bodiesismostdefinitelyanending,asmuchas‘Ideas’isabeginning,andinthespiritofthenew,itisevenbeingsoldinarelativelynewfashion.Thoughthealbumisessentiallypaidforalready,thewholethingisbeingsoldthroughPledge.“It’sawayforustogivemorebacktothefans,”explainsPaul,“thewholepointofitisthatpeoplecanchoosetointeractwithus.Peoplecansay‘Iwantthat,Iwantthat–itmakesiteasierforfanswhoreallycareaboutittobuyintoitatthebeginning.”Adifferentapproachtomarketinginadifferentmarket?“Inthelasttenyearsthere’sbeenamassivechangeinthedynamicofhowthewholesystemworks,”Paulcontinues,“youcan’tjustknockoutagreatalbum,putalovelycoveronit,getsomegoodpressandexpecttoshiftloadsofcopies,peopledon’twantthatanymore.”

“Peopledownloaditforfree,”saysRobbrusquely,“that’sageneralisation,butpeoplewhousetobuymusicliketeenagersoryoungadultsdownloadit.Inthemajority.Soareleaseismorelikeacallingcardtogetyoumoretoursandactuallydrivesomerevenuebackintothebandtokeepitgoing.”

Thereareplentyofgoodreasonstobuythisalbumthough,onebeingPaul’svocals,whichhaveundergoneametamorphosissinceModern Bodies.Iaskwherethisamazingvoicehascomefrom.Hisfirstanswerisayarninvolvingoldwomen,fruitandmagicalpowers.Hissecondisabitmorecoherent.“WhenIwaselevenIjoinedthechoralsocietyatschool...IhadbigbracesandbiggingerhairandIsangsoprano,”headmits,“IdidHandel’s‘Messiah’initsentirety.I’vealwaysbeenabletosing,butthatwasn’tthepointofthemusicwemade.Theneveryonewaslike‘let’strysomesingingnow’,becausewe’dgainedinconfidenceasaband...Again,itsoundslikeit’splanned,butit’sjustahappycoincidence.”

“Wethought‘let’snotdoanotheralbumfullofchugging

guitars...’”saysRyanacrossthetable,whohasnotbeenentirelysilent,buthasbeenalmostentirelydrownedoutbythenoisyclientele.

“Wecandodifferentthingsonaguitar,”laughsPaul.

Andwithanewstylecomesadifferentlabel–FiercePanda.Alltold,HawkEyeshavebeenonatleastfourlabels.Paulshrugs.“Idon’tthinkbandsneedtosigntoonelabelforlife,”hesays,“whateverworksatthetime.Itcanbequitedangeroustosigntomultialbumdealswithlabels,becauseyou’rethenbeholdentothem.”It’strue;I’veheardaboutlocalbandswho’vegotlockedintothewrongdealandsufferedtheconsequences.ButHawkEyesnarrowlyavoidedmakingthesemistakes,makingthemwiseintheeyesoftheirpeersandverythoughtfulonthealbum.

“Alotoftherecordisaboutthat...”Paulscrabblesforadescription,“thatfeelingofhopelessness...reallynotknowingwhereyou’regoingandmoregenerallytheworldnotknowingwhereit’sgoing.There’salotofstuffonthere,certainlylyrically–Ifeelsorryfortheotherguyssometimesbecausetheydon’tknowwhatI’mgoingtodolyrically...aslongasthewordsfitandthemelodysuitsthemusicI’mprettymuchallowedtodowhatIlike–Itrytoinvolve[theband]asmuchasIcan–Itrynottomakemylyrics‘thePaulAstickshow’becausethat’snotwhatthebandis–thebandisfourpeople–soit’sreflectiveofthemoodsofthemusicandallthe

experiencesthatwe’vehadtogether,ouropinionsandvalues.”Butdespiteoraswellasthis,itisstillfun,just...seriousfun.They’vealsojustreleasedafinalEPwithBrewcalledMindhammersasakindofsafetyvalvefortheircreativeoverflow.Consideringwhatthey’vegotonthego,it’samazingthey’vefoundtimetotalktomeatall.

OurtimeisnearlyupandIcanseethatPaulisanxiousto‘enjoyhisbirthday’,soIdon’twanttokeepthem,butIstillfeellikeI’vemerelyscratchedthesurfaceofHawkEyes;they’realmosttoomercurialasaband.“Idon’tthinkweshoulddefineourselvesasonething–Ithinkthat’sveryimportantforaband,”explainsRob,“notgoingoverthesamegroundtwice–let’sprogress.”

It’sallverygrownup,veryforwardfacing.ThenoneofthebandmemberssuggestsItakeallmyclothesoff.

Butthatisanotherstory...

Ideas and Mindhammers are both available to purchase (just check out www.hawkeyesmusic.com), and Hawk Eyes will be supporting Andrew W K on the UK leg of his tour in April. Party Hawk.

“I don’t

think we

should

define

ourselves

as one

thing.”

Sam Airey, mild mannered guitar slinger with a hint of folksiness, has been stamping like a butterfly of late. From being the house band at the recent Live at Leeds launch to a Radio 1 Maida Vale set, he has been making his quiet presence known in quite a loud way. Ellie Treagust cornered this timid yet feisty little performer and pelted him with questions which you, dear reader, might like to know the answers to…

ETHowwouldyoulikeyourmusictobedescribed?

SAIneverreallyknowhowtoanswerthisquestiontobehonest.I’dratherpeoplejustmaketheirownmindsupwhentheylistentoit.I’dprobablycallitsomethingalongthelinesofindie-folkstorytelling;there’sarealfolkelementtoalotofthesongsbutit’snotalwaysadefiningfeature,Ithink.LyricallyItryandwritewithastrongnarrativemostofthetime,butit’snotalwaysthecase.Withthelatestthingswe’verecordedthere’sanemphasisonatmosphere,tryingtocreateamoodthatreflectsthecontentofthesongs,Iguess.

ETHowdoyougoaboutthesong-writingprocess?

SAThere’snodefinitivemethod.SometimesI’llhavepiecesoflyricsoramelodyinmyheadanditcantaketheshapeofasongwithinminutes,othertimesit’smoreforcedandyouhavetoworkatitalittlemore.IusuallywritewithaguitarbutI’vebeensatatthepianoalotrecently.However,I’vewrittenwholesongsbeforewithoutbeinganywherenearaninstrument;Iwrote‘EndlessSea’onalate-nightferrycrossingfromIreland.Itstartedwithjustacoupleofwords,butinmyheadIcouldheareverything-thechordprogression,melodyline,andsoonIhadawholesong,withoutactuallymakingasound.AssoonasIgothomeIplayeditinfull,itwasprettyoddhowitcameoutcompletelyformed.

ETHaveyounoticedmuchdevelopmentinyoursong-writingsinceyoubegan,andifso,how?

SAIliketothinkso.LyricsareabigthingformeandItendtospendabitmoretimeonthemthesedays.Musically,I’mlessafraidtoletthesongstakecourseandchange,soI’menjoyinglayeringthemandfindingnewsounds.You’dalwayshopeyou’reconstantlydeveloping-ifyournextsongisn’tasgoodorbetterthanyourlast,youprobablyneedtositbackandquestionwhatyou’redoing.

ETWhat’syourfavouritevenuetoplayatinLeeds?

Ihaveafew.TheBrudenellisanobviouschoicethesedaysforalltherightreasons.Thesoundisalwaysgreat,andNathandoesabrilliantjobofrunningit-it’snotjustacherishedvenuebutanintegralpartoftheLeedsscene.Intermsofothervenues,Ilikeplayinginslightlymoreunusualspacestoo.ThenewEPlaunchatHolyTrinityChurchwillbethethirdtimeI’veplayedthere.It’sabeautifulspaceanditlendsitselfreallywelltothetypeofmusicIplay.WedidasinglelaunchlastyearcuratedbyAnthologies,insidethechapterhouseinKirkstallAbbey,withnoPAoramplificationatall-thatfeltlikeariskydecisionbutitturnedouttobeoneofthebestgigs.Finally,OportoandShopkeepersgigsarealwaysfun.It’sbrillianttheyhaveadecentbudgetforlivemusicandyetputonsomanyfreeshows.

ETThere’sbeenquiteasurgeof‘onemanandhisguitar’actsinrecentyears-whatmakesyoustandout?

SAI’vealwayssaidthere’saninherentflaw,oratleastdanger,withthetermsinger-songwriter,ifthat’swhatyouwanttocallthis.Theproblemliesinthefactthatthetermattemptstodenoteagenre,whenallitreallysuggestsisthatitconcernssomeonewhobothsingsandwritessongs.However,thesedayswemostlycometoassociateitwithagreatdealofbland/drossmusic.Oneofthebigproblemsformeisthatit’squiteeasytopickupaguitarandgetyoursongsontheinternet-thismayseemlikeagoodthingbutitmeansyouhavetowadethroughquitealotbeforeyoufindsomethingofworth.I’veworkedprettyhardthelastcoupleof12

yearsbothonsongwritingandlearninghowtoholdacrowdonmyown,whichatfirstseemedlikethemostdauntingthingintheworld.Butnowthattherecordingsareincreasinglylayeredandorchestrated,I’llbedoingmorewithafullbandtoo.

ETWhat’syourbiggestmusicalachievementtodate?

SATherehavebeenafew.MusicformehasalwaysjustbeensomethingI’veloved-Ineverreallyintendedtogettothispoint,butwitheverythinggoodthathappens,itseemstospuryouontothenext.Atfirstitwasacaseof“Ihavethesesongs,I’llwritesomemore”,thenitwas“I’llrecordandreleaseanEP”,andnowtwoyearsdownthelineI’vereleasedsingles,playedaroundtheUK,andI’mcurrentlywritinganalbum.Ithinkthemostoverwhelmingthinghasbeentheradioattention;theRadio1MaidaValesessionwasahugehighlightforme.

ETDoyoursongsalwaysturnouthowyouwantedthemtoordoesthecreativeprocesschangethem?

SASometimesyou’llhaveanidealisticsenseofwhatyouwantthesongtosoundlike,butyouhavetolettheprocessrunitscoursebecauseyoumightendupwithsomethingthatsoundsbetterthanwhateveryouanticipated.

ET Howmuchinspirationdoyoutakefromyoursurroundingarea?

SAAvaryingdegree.I’mfromruralNorthWalesoriginally,andbitsofthesongsarepartlyinspiredbymymemoriesofit,andalsobymymovetoLeedsandgettingusedtolifeinthecity.ButI’dsayItakejustasmuchinspirationfromthepeoplearoundmeandtheplacesIvisit.

ETAquickrun-downofwhat’sinstoremusicallyforyouthisyear?

SAFirstlythere’sthenewEP–‘AMarker&AMap’,releasedinMarchwithaccompanyingfullbandgiginHolyTrinityChurch,andwe’realsodoingaLondonEPlaunch.ThenI’llbedoingsometouringinAprilincludingmyfirstgigsinScotland,thenofcourseLiveatLeedsinMay,andhopefullywe’llbeplayingafewfestivalsduringthesummertoo.

ETIfyoucouldhostafantasydinnerpartyofsevenguests,whowouldtheybe?

SASamCookeandJoniMitchellwouldcome,andI’dalsomakethemsing.ErnestHemingwaywouldbeondrinksduty,AudreyHepburnforsomeeleganceandstories,SalvadorDaliseemedprettyinterestingtoosohecouldprobablycomealong.ThenI’dinviteCharlesDarwinandGod,andmakethemhaveanarm-wrestlingduel.

You can catch Sam Airey at Live at Leeds on Saturday 5th May. Be patient...

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Anticipation. Despite what the hacks will try and tell you i.e. that they know the line up for Leeds 2012 and have done for months blah blah blah, there is a very tangible sensation of anticipation in this room full of giggers, liggers, bloggers, sloggers, tweeters and the occasional writer. In ten minutes time there will be an electronic barrage comparable to the EMP kicked out by a small nuclear device departing from the cockpit, but for now... anticipation.

Bythetimeyoureadthis,thelineupwillbeoldnews.Therewillbetheusualaccusationsof‘playingitsafe’and‘soooopredictable’,butasforme...Istillgetexcitedbythis.I’mlovingtheprospectof(hopefully)seeingTheCure,re-acquaintingmyselfwiththeGallicdancemetalinsanityofJustice,goingbollocks-mentaltoPulledApartByHorsesONTHEMAINSTAGEand...well...AtTheDriveIn...

ItcouldonlygetbetterifSoundgardenmadeanappearance(crossesfingers).

Andwehaven’tevengottotheFRorIntroducingstagesyet...ortheLockDown/Dancelineup...orthecomedystage...

Yes,itiscommercial,yes,itisfullofpissedupteenagersbutitisstillLeedsfestival,amassivefestivalinourbackyardthatbearsourcity’snameandIhaveitongoodauthority(fromtwoguyswhocameallthewayfromReadingtogotoLeeds,so...)thatitisthepreferredlocality.Andforthatweekend,therewillbethatsamebuzzofanticipation,onlygrownseveralmagnitudeslarger–andIhaveafeelingthisisgoingtobeamightyweekend.

InafugoffreeGaymers,IamluckyenoughtogetamomentoftimewithFestivalRepublichonchoMelvynBenn,aformerHulliteandfanoffanzines.Heissippingawhitewine,leaningagainstasparestageandlookingslightlyrelaxedbutalsoslightlyanxiousaboutcatchinghistraindowntothebigsmoke.

SeeingasthisisaGlasonbury-freeyear,Iaskhimifhefeelslike‘akidinasweetshop’,literallyhavingthepickofthebunchwhenitcomestobandsthisyear.“Ialwaysfeellikeakidinasweetshop,”hefiresback,“anyoneinmypositionshouldfeellikeakidinasweetshop.Glastonbury’sauniquefestival,entirelyonitsown.ReadingandLeedsaremusicfestivals,theyhavemusicrunningthroughtheirveinsandessentiallyonlymusicrunningthroughtheirveins–there’snoclowns,nofireeaters,nosnakecharmers.”

Aswellasbeingafanzinefan,italsotranspiresthatheisaPulledApartByHorsesfan,havingbeenintroducedtothembytheirmanager.Hehadtobuyhisowncopyofthenewalbum,though.OpeningontheFriday,Iaskhimifheseesthemasawarmupband:“Onthecontraryactually–Ithinkthatworlddominationbeckons-they’vegotasoundthatwillblowpeopleapartinGermany,inAmerica,inJapan.”

NotonlyarePABHplayingthemainstage,butLeedsownKaiserChiefswillbeuptheretoo.Hashegoneforsomelocalactionspecifically?“Somepeoplehavesaidtome‘doyoupickthelocalbandsforLeeds?’butthefestivalrepublicintegritywouldn’tallowthat.Wepickthebandsbecausetheydeservetobethere.”

Aswellasthebignames,LeedsFestivalwillalsobehostingthewinnersoftheMartinHouseHospice’sCentreStagecompetitionforathirdyear,demonstratingFR’sdedicationtonewmusic:“Thefactthatitbenefitsthehospiceisaplus,butit’sarealopportunityforyoungmusicianstobeonstageandtolearnabouttheircontemporaries.”He’salsoachampionofyouthingeneral:“I’vealwayshadyoungpeopleatmyheart–Iabhorthewaythatyoungpeoplearegivenahardtimebythepress.TheyoungpeopleintheaudiencesatReadingandLeedsaretomorrow’sleadersofthecountry-I’vebeenatfestivalswherethefuturekingofEnglandhasbeenexcitedbybeingstoodatthesideofthestage.”

Butmorethanthat,hehasvowedtoputabeerandaburgerinthebellyofeveryindividualwhobuysaweekendticket:“Intruth,nothingpromptedmeapartfromphilanthropy-IdowhatIcantomakethesponsorshelpme–iftheydon’tdothat,I’llpayforit.I’mnotnaturallyapersonthatjusttakesandtakes,Ialwayswanttogivethingsbackandatfestivalrepublicwealwaysworkreallyhardoncharityprojects.IjustfeltIneededtodoit.”Andforthat,Isaluteyou.Willtherebehaggistherethisyearthough?CanIgethaggis...?

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Not ones to let the grass grow under our feet, we’ve had a bit of a recruitment drive here at WYPC, so please welcome Officer Rochelle Massey – she doesn’t take any, as Reel Big Fish found out when they got a proper grilling. Fish? Grilling? Oh, forget it...

Names?Dan,andIplaythetrombone.Derek,andIplayBassJohn,JohnnyChristmas,andIplayTrumpetMatt,Iplaysaxophoneandsing

Reason for Visit? Dan–Wellonceayearaplanecomesbyeachofourhouses,picksusup,andsaysyouhavetogodancelikeamonkey,overwithintheUK.Sincewedon’treallyhavealotgoingon,weusuallygetonthatplane.

Business or pleasure?Dan–Abitofboth.Betweenthehoursof9and10.30,it’sbusinessandtherestofthetime,it’sbusiness.Derek–Iaminthebusinessofpleasure.Dan-Businessisgood.Derek–Businessisabooming.

How has touring changed for you over the years? We hope you won’t be all... rock and roll.Dan–OnthistourwetendtobeourPJsby11pm.Johnny–Heisveryhappyaboutthat.Derek-StagetoPJsintenminutes.Dan–Althoughlastnighttherewasabitofpartying.Johnny–InGlasgow.When you come to the UK what do you enjoy the most?Derek–Kebabs!Johnny–Yeah,kebabshereareawesome.Weenjoymeetingallthepeople.TheBritishfansarealwayssoawesome.Wereallyappreciatethat.Matt–Youguysdoreallygooddelimeat.Ienjoythedelimeat.Idolovesomegooddelimeat.

When constantly touring do you ever get on each other’s nerves and want space to yourself? I think we have a free holding cell...Dan–Ithinkweareoldenoughtoknowwhensomeonewantsspace.Johnny–yeah,definitely,wehavelearnthowtostayoutofeachother’swaywhenwearefeelingthatwayout.Thenthenextdaytheywillbefine...Derek–Actually,youshouldhaveeachofusintheroomaloneandaskthequestionagain,andthenseewhatansweryouget.

Drummers are known for being troublemakers, bassists for being lazy – how does a trombone player behave?Dan–Thetromboneplayerisusuallystoned,althoughnotnow,Imuststressthat.Matt–TheyloveDoritos.TheycaneatanentirebagofDoritosinonesitting.Dan–Thatisnottrue.Matt–Andtheylie.Dan–IhavenothadabagofDoritosonthisentiretour.Iwasfinebeinginsultedbymyself,butifyouwanttojoinin,pleasedo.

Calm down, gentlemen. How have you kept the band relevant when ska is in and out of favour?Dan–Itcertainlyisnotbygettingasaxplayer.Matt–Oooohhhhh,likethatnowisit.Dan–Youbetitis.IthinkAaronhaswrittenthesoundtracksofmostpeople’slivesfromabout12totheageof25.Soheisdealingwithalltheproblemsthatyougothroughatthattime.Matt–Youarestillgoingthroughthem.

What is next for Reel Big Fish?Dan–Weareactuallyworkingonanewrecord.Johnny–Yeyyyfinally.Dan–NowIknowwehavehadsaidwehavebeenworkingonanewrecordforwhatseemslikeyears...Derek–Itisyears!Dan–...ButAaronlikesthesesongs,whichisveryrare.Sothistimeitshouldhappen.Itwillhappen...(sternface)

Anything else to declare?Johnny–Don’teatspacecakeandtrytocomebacktoBritain.(shouts:bloodtestforJohnny...)Dan–Iwouldliketodeclare,thatIdidweartheseshoesinanagriculturalsituation,andbroughtmadcowintothecountrywiththesoilonmyboots.Derek–Yeah!Ihavesomethingtodeclare...Iamnotlazy!

Thankyou,youmaynowproceedthroughpassportcontrol.EnjoyLeeds.

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sey~ImagebyC

REEL BIG FISH

Long before most Vibrations’ readers and writers were even born, the insanity of providing quality musical opinion, info, news and reviews for our fine city was under the auspices of a certain Martin Tindall. In 1977 he blazed a trail with his fanzine, ‘New Pose’, for such mags as ourselves, so we called on an old friend to big up his seminal publication, now reissued after 35 years. Vibrations own old schooler Sam Saunders was there, so he knows what he’s talking about!

Inthemiddleoftheblandestmusicaldecadeinhistory,ayoungMartinTindallwasgoingabouthiswide-eyedlifelisteningtoNewYorkDollsandTheStooges,beingexpelledfromArtCollegeandvisitingLondon.

InLondon,lookinglikeapunkcouldmeanhidinginMalcolmMcLaren’sshopforsafety,withteddyboyassailantslockedoutside,shoutingforblood.InLeedsitwasworse.HangingaroundTheQueen’sHallonthenightofaconcertcouldleadtoakicking.

Nomatter;the“AnarchyInTheUKTour”broughtTheSexPistols,TheDamned,JohnnyThundersandTheHeartbreakers,and(SpecialGuests)TheClashtoLeedsPolytechniconMonday,December6th1976.Unlikeothercitiesontheadvertisedtour,Leedsactuallyallowedthegigtoproceed.Martinandhispalswerethere,withheartspoundingandaplan.

Bythespringof1977,Martin,withtypingbyJayneCobbeandphotosbySteveDixon,hadphotocopiedthefirstissueofaremarkablefanzinecalledNewPose.Itwascopied,onesided,onto16sheetsofA4stapledtogetherandsoldthroughoutletslikeVirginRecords(whoquicklyputMartininchargeoftheirpunk-recordpurchasing).Withartschoolstillinhisblood,hegotcontributionsfromcartooniststoo:MarkManning(founderofthebandZodiacMindwarp),RayBurns(akaCaptainSensible)andJerzySzostekofKnockaboutComicswereactivecontributors.

AlotofthetextwashandwrittenbyMartin.ThephotographsbyJayneCobbeandMattDixon(ElvisCostello,SexPistols,Ramones,TheClash...)aredenselyzeitgeist(withcontactprintsinoneissuetosaveonprocessingcosts).‘Pin-up’cartoonsbyMarkManning(andMartin)arebrilliant.ThecomicstripreviewofanIggyPopgigandacomicstripbiographyofTheDamned(by

CaptainSensible)aresomethingelse.Vibrationsshouldadopttheformatimmediately(dulynoted–anytakers?Ed.).

Overfivespikyissuesthroughthewholeof1977writing,photographs,comicstrips,cartoons,gignewsandpersonalviewspouredout.AlongsidethefewYorkshireartistslikeS.O.S.,TheJerks,Cyanide,TheMirrorBoysandTheNeckFuckerstherewerereviewsandinterviewswithmostofthebest:TheRamones,TheStranglers,TheVibratorsandTheSexPistolsandloadsmore.

Thefanzinehashadagooddealofnationalattentionovertheyears.NME,championingpunkatthetimeandfastbecomingTHEmusicweeklyasMelodyMakerlostitsbearings,putitsecondonlytoSniffin’Glueasthenation’sbestfanzine.(Sniffin’GluehadstartedabitearlierandMartinthoughthecouldmakesomethingthatlookedbetter.Hewasright.)NewPosehassincebeenfeaturedinTVdocumentariesoftheera:notablyinBBC2’sArenaseriesin1990andChannel4’s‘TheStiffRecordsStory’in2010.

ButafterfiveissuesMartinhadrunoutofsteamandtheLeedspunkscenewasturningintosomethingalotlessexcitingandalotmorecommercial.NewPosestoppedwhileitwasstillhot.Eachissuehadgotstrongerthanthepreviousone,butthingswereshiftinginLeeds.Martintoldmethatthosedescendantsoftheskinheadsandfootballhooliganswerestartingtoarriveatpunkgigs,lookingfortroubleandgoingforthesmellofbandslikeSkrewdriverwhorepresentedeverythingthatpunkhadstoodagainst.Thecultofpunkitselfwasmorphingintogothandnewwave.Recordlabelswhohadbeenfastasleepin1976werestartingtothrowchequebooksatpeoplelikeElvisCostellowhocoulddeveloptheirmusicandmakeaseriesofbigmoneyalbums.ThefierceenergyofthepunksinglesthatMartinwassellinginVirgincouldn’tmaintaintheirimpactonwholealbumsandsomethinghadbeenlost.

HestillremembersdoingoneDJsetatJohnKeenan’sfirst‘StarsofToday’seriesatLeedsPolytechnicbutthepressuresofhisfull-timejobandputtingoutNewPosemadehimbackoutofafutureasaDJ.

The New Pose full-set reissue of five can be bought from Crash Records and Jumbo Records. If you have original copies, treasure them and buy these to read all over again.

19Wordsby

Just outside of Leeds (I know, bear with me) there is a little star cradle of a town that has spawned the likes of The Cribs, The Research, Runaround Kids and now The Spills. Emma Quinlan managed to get some sense out of them between fits of laughing and breaks for South Park. YOU WILL RESPECT HER AUTHORITAH!

Theylikechillisauceonbeansontoast,eatingfishandchipswhilstrecordingandwatchingSouthPark.TheyareTheSpills,anindierockquartetfromWakefieldwhoinfactlikewatchingSouthParksomuchthatwestoptheinterviewhalfwaythrough,sotheycanpayattentiontotheTVintheroomandwatchacartoonRobSchneidermakeatoolofhimself.“Sorryaboutthat,”saysSam,“it’sthebestbitofthewholeepisode.”

We’reinthe‘livingroom’areaatGreenmountstudiosinArmley.Aone-timeplaceofworship,thisconvertedchurchhasceasedtoopenitsdoorstothereligiousandinsteadactsasaplaceforbandstorecordtheirmusic.TheSpills,consistingofguitarist/singerRob,bassistSam,drummerJoe(whoissadlyunabletoattend)andguitarist/singerChad,haverecordedhereafewtimesanddon’tseemtobeputoffbytheweirdeerinessthatsurroundstheplace.

“WedidourEPhereandthenwedidouralbumhere,”explainsRob,“LeeandJamie,theguyswhoranitthen,didourEPandalbumandnowIrunthestudiowiththem.Wejustalwaysreallylikedthisstudioandwerecordtoanaloguetapeandit’sgotloadsofvintageequipment.”

Formedaroundsixyearsago,TheSpillsallmetinsecondaryschoolandbeganplayingtogetherwhenRobwasinschoolandtheotherswereinsixthform.“Westartedprettyyoung...Iwas15whenIstartedwritingsomesongsandthenmeandSamboughtafour-tracktaperecorder.It’sbeenthesameline-up[eversince]butwhenyouhavebeengoingfromthatyoungobviouslyit’sverydifferent.”

“Youdon’tmeanthatofTheSpillsdoyou?”interjectsSam.“No,”laughsRob,“It’ssodifferent.It’sjustthatmostbandssplitup…”“…They’relikeschoolbands,”continuesChad,“andthentheykindofbreakupandactuallydosomething.”

Withthis,theyallbeginlaughing,whichtheycontinuetodothroughouttheinterview,normallyattheexpenseofoneanother.“Basically,”saysRob,“wecarriedonwhenwewenttouniversity[eventhough]weallwenttouniversityindifferentplaces.Inthefirstyearwetookitabitslowerandthenwekindofbuiltitupagain.ThenwedidanEPandthenafteruniversitywedidthealbum.”

Thealbumheistalkingaboutis‘Occam’sRazor,’theirfantasticdebutthattakesallthebestbitsoftheindiegenreandwhacksthemtogetherinonegloriousCD.Theirworkhasgatheredarespectableamountofpraisefromthemusicmedia(includingthisveryfinepublication),whichcameasanicesurpriseforthemakers.

“Wegotalotmorereviewsthanwethoughtandtheywereallreallynicesoitwasapleasantsurprisereally,”smilesRob.

“Yeah,”chucklesSam,“Ithoughtwewouldgetlikethreereviewsorsomething...”

Thankfullythishasnotbeenthecaseandinstead‘Occam’sRazor’hasignitedaflameinTheSpillsandshowntherestofYorkshirehowindierockshouldbedone.However,eventhoughtheyregardthemselvesasan‘indieband,’theyaren’tfullycomfortablewiththetagline.

“It’squiteanindieband,”mullsSam,“butIdon’tliketheword‘indie’becausepeoplealwaysturntheirnoseupatit.”He’sgotapoint.Ifyousaytheword‘indie’topeople,mostofthemwillenvisageabunchofposhlads,toutingguitarsandflannelshirtsbutTheSpillsaredefinitelynotoneofthesebands.“[Oursound]isnoisyandIdon’tknowifit’sheavybutit’snoisyandabitrough.[It’s]kindofindieinthesenseofAmericanindie…[like]PixiesandPavement.”

SodidthesebandsinspireTheSpillstopickuptheirinstruments?“WhenIstartedplayingguitarIwaslike10,”remembersRob,“Soprobably[someone]likeJimiHendrixinspired[me]tostartplayingguitar.”Apparentlythisisn’tthefirsttimeJimiHendrixhasbeenmentionedduringaninterview…“DoyourememberthatinterviewwedidwhenyoukeptreferringtotheJimiHendrixtapeinyourdad’scar?”smirksChad.Hedoesn’t,butaccordingtoSamhementionedit“overandover.”

Chills, Thrills and... The Spills!

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Thebandbreaksintomoresmilesandmoregiggles,withRobnowthetargetformockery.“Yeah,mydadhadaJimiHendrixtapeinhiscar…”jokesRob,takingtheirmocksinhisstride.ApparentlyhealsohadafewothersincludingBobMarley,butwedon’tneedtogointothat.“Ididn’tstartplayinguntilIwas15,”saysChad,“SoitwasmainlythatIlikedalotofbandsbut[also]thateveryoneelseplayedinstrumentsandIjustalwayswantedto…soIjustdid.”

HemakesitsoundsoeasyandTheSpillsasawholemakebeinginabandlookeasierthanitprobablyis.Fortheseladsthough,thisisn’texactlyaneasylife-theyallhaveregularjobsaswellasplayinginTheSpills.There’snoBono-styleprivatejetsandfullstadiumtoursforthem,justsmallchapelswithnobarsandabring-your-own-beerpolicy.“WedidanalbumlaunchatChantryChapel,whichisachapelinWakefield.Thecapacityisprobably50

people.It’sareallylittleplace,”explainsRob.

“There’snobarsoitwasbringyourownbeerandnotoiletssopeople[were]justhavingapissintheopen,”addsSam,“Ithink[thatwasthe]bestgigofours.”

Notexactlythevenuedreamsweremadeof,butit’snotallpissingonwallsandcansofRedStripeforTheSpills–no,notalloftheirliveappearanceshavebeenthatclassy.Lastyearhowevertheywerebookedfortheone-dayextravaganzathatisLiveatLeedsandthisyeartheyaredoingLongDivision(whichtheyalsodidin2011),Wakefield’sanswertoLiveatLeedsandaccordingtoSam,“thefestivalthatisputtingWakefieldonthemap.”

Thisbringsalittlegrintoallourfaces,butapparentlytheclaimisdeserved.“Itactuallyis,”saysChad,“itwasamazinglastyear.”

“Theysolditoutlastyear,”addsRob,“TheyhadDarwinDeezcomeover,andTheWeddingPresent.”IsgettingDarwinDeeztoplayreallyathingtobragabout?“It’sprettycoolthathecamefromNewYorktoplayinWakefield,”answersRobandwhenputlikethat,IsupposeIhavetoagree…Sothat’sTheSpills,pastandfuture(theredoingasplitEPwithRunaroundKidsscheduledforlateronintheyear)butwhataboutthepresentandmorespecificallywhatareyourecordinginthiscreepyoldchurchanyway?“[We’rerecording]atrackforacompilation,”explainsSam.

“Yeah,”addsRob,“DoyouknowwhoRhubarbBombare?”Queuetheblankexpression.“It’saWakefieldzinethingandtheirdoingacompilationwithloadsofWakefieldbands.It’scomingoutwithabigbookontheWakefieldmusicscene.There’sus,RunaroundKids,TheCribs,Imp,

TheResearch:itsWakefieldbandspastandpresent,sowe’rerecordingforthat.”

SoundsgoodtousbutwhilstIwishIcouldtalktoTheSpillsallnight,weallhavehomestogotoandworktogetupfor.Beforewesaygoodbyethough,anylastwords?NotthatImeanthattosoundsoterminal.“I’llmakeapledgeforthisRhubarbBombcompilation.[There’s]loadsofmemorabiliafromgigsinWakefieldlikebigprintsof…ArticMonkeysplayingWakefieldforinstanceIthinkthat’soneandthere’soneofKateNashplayingWakefield.Basicallyyoumakeapledge,acertainamountofmoneyforwhateveritemandobviouslyyougetthatitem,”explainsRob.

“That’sthenfundingthecompilationandthisbigbookontheWakefieldmusicscene[showing]thehistoryofitandthehistoryofthemagazine.Youcanmakeapledgeforthatonline,soitwouldbegoodifeveryonechecksthatout,it’sagoodthing.”Whenisthisout?“[Thecompilation]come’soutApril21stIthinkandit’scalled‘TheCityConsumesUs.’”“Isitnotcalled‘TheBomb-palation?”UnfortunatelynotSam,butbyGodwewishitwas.

‘The City Consumes Us’ will indeed be available at the end of April, complete with funky book. It is unclear as to whether Rob’s dad still has a Jimi Hendrix tape in his car...22

It actually came as a shock to realise that iForward Russia! Have actually been on permanent Hiatus since 2008, but time flies and all that. Whiskas, not a man to let the grass grow under his feet but having to deal with the responsibilities of a young family, took time out of his busy schedule to speak to Greg Elliott about new honours, new glories...

Musician,labelowner,manager,producer,promoter-themanknownasWhiskashashadmanyguisesthroughouthislongassociationwiththeLeedsscene.He’ssatwithmeinaHeadingleywateringholetalkingaboutHonourBeforeGlory,thesoloaliasunderwhichheself-releasedtheThis Is Broken LinesLPin2011anditsfollow-upEPThe Maisonearlierthisyear.Theoriginsoftheprojectcanbetracedtothedyingdaysof¡Forward,Russia!,withwhomWhiskasplayedguitarandrodethemid-Noughties‘NewYorkshire’wavetosomethingapproachingmainstreamsuccess.Breakingintothecharts,however,cameataprice.

‘‘Wegotswallowedupbythemachine,’’hetellsme,‘‘wewerereactingtowhatotherpeopleweredoingandweweren’ttakingintoaccountwhatweneededtobedoingasindividuals.LookingbackitwasmentalthatwewerehangingaroundwithbandslikeEditorsandDirtyPrettyThings,thinkingthatwehadthesamekindofappeal!Wewastedalotoftime,energyandmoneyonpromotion-itdefinitelygotusbigger,butwhetheritwastherightthinginthelongtermIdon’tknow’.”Hepauses.‘‘It’sabitlikeChelseareally.’’

In2007¡Forward,Russia!decampedtoSeattletorecordtheirsecondalbum,Life Processes.Thesessionsweremarkedbyachangingdynamicwithintheband.‘‘Iwascomingupwiththingsreallyquickly,’’Whiskasrecalls,‘‘before,Iwouldjustwriteaguitarpartandwe’dbuildasongaroundthat,butnowIwasturningupwithfully-formedideas.Iwouldgoinandsay‘youdothis’and‘youdothat’.Icouldhearinmyheadhowthewholethingworked.‘SomeBuildings’wasthefirstsongwe’drecordedinsuchanun-collaborativeway.Itwasawkward-itwasn’thowthebandworkedanditjarredwithallofusIthink.WhentherewasdowntimeIwoulddisappearandmessaroundwithideas,buttheydidn’treallyfitwithwhatweweredoing.’’

WhiskashadunknowinglyplantedaseedwhichwouldcometofruitionwithThisIsBrokenLines–indeed,standouttrack‘BrokenBottles,EmptyHearts’waswritteninSeattleandcouldhavebeena¡Forward,Russia!song.UponhisreturntoLeedshetriedtorecordsomedemoswithfriendsJamieLockhart(MiMye)andJonFoulger(Duels),buttheprojectquicklystalled.‘‘Ididn’treallyknowwhattodowithit,whyIwasdoingitorwhatitwasfor,’’headmits,‘‘Ididn’twantittobeanotherband,butmaybeamorecoherentcollectiveofpeoplethanitendedupbeing.Inmanywaysitwasareactiontotheexperienceoffourpeopleinaroomtryingtowritesongstogether.Whenyou’reinabandyoudon’tthinkofeverydetail-there’salwayssomebodyaddingtheirtwocentsandusuallyinareallygoodway.Itwasalmostlikeanexperiment,pullingalloftheideastogethermyselfandseeingwhathappened.That’sprobablywhyittookfouryears!’’Helaughs.

Itwasthedemiseof¡Forward,Russia!attheendof2008thatstartedbringingthingsintofocus.Aninterestinproduction,sparkedbythemoreholisticapproachtosong-writinghehadtakenwithLife Processes,ledWhiskastoenrolonapostgraduatecourseatLMU.Freshlyup-skilled,heenteredtheHouseofMookrecordingstudiosinMeanwoodtobeginworkonhisdebutsoloalbum.Itwasaseriousundertaking-aswellasproducingWhiskasplayedeveryinstrumenthimself,withtheexceptionoflivedrumsperformedbySimonFogalofILIKETRAINS.BackingvocalscamecourtesyofacastofLeedsmusiciansknowntoWhiskasfromhisfamousassociationwithlocalindependentlabelDanceToTheRadio,includingFranRodgers,SamAireyandILIKETRAINSfrontmanDaveMartin.‘‘Iwouldsaytothem‘Iwantthistohappen–Itrustyoutomakeitgood’,’’heexplains.‘‘I’dknowIwantedacertainvocalrangefilling,oratransitiononthedrumstogetusfromaverseintothechorus,butpeoplehadthelicensetobecreativeandcomeupwiththeirownwaysofachievingwhatI’daskedfor.”

Not Back in The USSR

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ThiswasunchartedterritoryforWhiskas.Foronething,hewasplacingamuchgreateremphasisonthesoundofthesongs.‘‘Ialreadyknewaboutarrangements,’’hetellsme,‘‘like,inthesecondversetheguitar’sgoingtodropoutorthevocalsaregoingtochangemelodyorwhatever–butnowitwasmorelike,okay,thedrumsaregoingtopassthroughafilter,thekickdrum’sgoingtobottomout,allthesesynthandpercussionthingsaregoingtobehappening.IwaslearningasIwent.Ienjoyedtheprocess,butifIcouldn’tgetthesoundthewayIwantedtherewasnooneIcouldturnto.”Thereweresomeadvantagestoworkinginisolation,however.‘‘Myexperiencewithbandsisthatyouhaveathing,thenyoudoanotherthing,thenyoudoanotherthing,’’heexplains,‘‘youcan’tgetintothedetailtoomuch.WithHonourBeforeGlorythesongsaremainlyverse-chorus-verse-chorus-end,butthey’reinterestingbecauseofhowthey’reproduced.Ican’timaginebeinginaroomwithpeoplediscussingwhyallthesedifferentthingsneedtohappenattheseveryspecifictimes’’.

This Is Broken LinesalsorepresentsWhiskas’firstexperienceofwritinglyrics.Giventhathebecameahusbandandafatherwhilethealbumwas–ifyou’llexcusethepun–gestating,didtheseupheavalsinhispersonallifeinformitslyricalcontent?‘‘Thealbumismusicallyratherthanlyricallydriven,’’heinsists,‘‘thelyricsarequiteinsular–theymeanalottomebutprobablynotmuchtoanybodyelse!Thefeelofthealbumisverymono-chrome;theideasareallveryblackandwhite.Fran[Rodgers,alsoatalentedillustratorifyoueverwantedtotype‘LazyDane’intoGoogle]cameupwithsomegreatartworktorepresentthat.”

So,hehadafinishedalbumhewaspleasedwith–timetopromoteitwithafuckloadofliveshows,right?NotbythelooksoftheHonourBeforeGlorywebsite,whichproclaimsnogigsfortheforeseeablefuture.‘‘It’sneverbeenalivething-henceitsproblemwithbeingalivething!’’explainsWhiskas.‘‘Withmypreviousbandsthesongswerewrittenwithgigsinmindanditwascooltobeabletogetawayfromthat.Theun-livepartshavedefinedthedirectionsthesongshavegonein,ratherthanviceversa.I’vebeenabletoputtwodrumkitsortenguitarsonasongbecauseIhaven’tbeenworryingabouthowI’mgoingtodoitlive.We’vedonesomeshows,butI’vefoundthemreallyunsatisfactory.I’mnotastrongsingerandIdon’tfeelconfidentorcomfortablefrontingaband.It’sashame,butthereareotherthingsIenjoymore.I’msobusy–Ihavetoprioritise.”

Thesecompetingpriorities–asidefromtheobviousresponsibilitiesofhomelife-includeplayingguitarforSamAireyandMonteCarlo,producingtheirnewEPs

aswellasupcomingreleasesbySoulCircusandKleineSchweine,andorganisingthe2012UnconferenceaspartofLiveAtLeedsnextmonth.That’snottomentionthedayjob,whichseesWhiskaspassingonhiswisdomasalectureratLMU.Heremainspassionateaboutempoweringmusicianstotakecontroloftheirartandkeeptheirintegrity,promptingmetoaskifthenamehe’schosenforhislatestprojectisareferencetothiscontinuingpreoccupation.Henods.‘‘It’swhat¡Forward,Russia!wasabouttoo-doingthingsintherightwayandfortherightreasons.It’snotaboutglory-Ijustwantstuff

togettherecognitionitdeserves.”

Itmighthavebeentakenofftheroadforthetimebeing,butWhiskasiskeentostressthatHonourBeforeGloryisstillagoingconcern.Thereareplanstogobackintothestudiowithsomenewsongsthisyear,andtheremaywellbeaquitedifferentlivemanifestationofhismusebeforetoolong.Itcanbewhateverhewantsittobe,afterall.‘‘TheearlysongswerequiteAmericana-influenced,abitmorerockandroll,’’hetellsme,‘‘thingsgotmoreelectroasIwenton.Ireallylikethesoundofthelatersongs–they’realotmoresynthetic.NoneofthesongsIrecordedattheendhadlivedrumsandIdidn’tmissthem.SoIhavethisideathatinthefutureIcoulddosongslike‘ShadowInto’[aseven-minuteepicofpensiveambienceandperhapsthemost

experimentaltrackonthealbum]onmyown’’.Hesmileswryly.‘‘Iwouldn’texpectittobeexcitingtowatchthough!”

We’llsee.

This Is Broken LinesandThe MaisonarebothavailableviaBandcampand,thoughyoumaynotseeHonourBeforeGloryinahurry,ifyouseeWhiskas,buyhimabeer...

He remains

passionate

empowering

musicians to

take control

of their art

and keep

their integrity

Stalking Horse – Specters (Role Model Corporate)

Forthoseofyouwhoweredisappointedwithlastyear’sRadioheadcurveball‘KingofLimbs’,thiscouldbethealbumyouwerewaitingforallalong.TosaythatStalkingHorsehasonlyapassingYorke-ianvocaltwingewouldbeamassiveunderstatement.Andbythetime‘TheCreeps’(oh,comeon…)kicksinyou’restartingtowonderifStalkingHorseisjustapseudonymforanRHsideproject.

Inactualfact,SpectersisthedebutLPfromEx-ThisEtAlfrontman,Wu,underanewmoniker.ComparisonstoRadioheadshouldbereceivedinthemostcomplimentarysensetooasthisalbumisgenuinelybrilliant:warm,pulsinganddareIsayit,catchy,thisticksallmyhypotheticalchecklistentries.OthercomparisonstothelikesofWildBeastsandClinicholdtheirwaterwellintrackslike‘TheDawnIsFatherToTheSun’and‘Waterhole’andthere’sadefiniteVesselsvibeabout’99Stairs’.Plentyofvarietytoo:‘Mistress’isapiano-ledepiccompletewithquirkyobscurelyricalhooks(“There’snofoodonthetable/andyou’relaughingathisbedsidemanner”)whilecloser‘Lament’roundsthingsoffinasuitablythoughtfulmanner.

IstruggletofindfaultwithSpecters:asanalbumit’swell-balanced(havingbeengiventhefullJamesKenoshatreatment)andfullofbeautifullyconstructedtunes.There’sonlyaverythinresemblancetoThisEtAl,itfeelslikeNeil‘Wu’Widdupiswellonhiswaytowardsdevelopingatrulyidiosyncraticsound.Inthemeantime,he’sproducedastunningfirstrecordandwithalivebandofveritableLeedsall-starsisaprojectworthfollowing,evenifitdoeshaveyoureachingforyourcopyofIn Rainbows.Tim Hearson

Blacklisters – BLKLSTRS (Brew Records)

Admittedly,neverhavingheardBlacklistersbefore,Iwasalittledauntedbytheprospectofcomposingareviewaboutabandthataregenerallyheldinademi-godlikestatusbyotherVibrationswriters.IwasevenmoreperturbedwhenIheardthey’dbeencomparedtoGlassjaw.Ihadthedistinctfeelingthattheyweregoingtobeoneinanumberofbandshauntedbytheirritatinglegacyoftheaforementionedbandandtheir90spost-hardcorecontemporaries,andIhadthedistinctimpressionIwasgoingtohateit.Iexpectedsomethingbetweenovert,incessantmachismoandthewhinyverbalatrocitiesofteenagemelodrama.

WhatareliefthenwhenIinsertedtheCDintomyhi-fiandwasconfrontedbysomeofthemostvisceral,unrelentingandsuperbearcandyI’veeverencounteredduringmyshortacquaintancewiththelocalmusicscene.Blacklistersmanagetoexecutewithintrepidprecisionthebuildandreleasedynamicsrequiredformusicofthisaggressivequality.Buttheymanagetodoitwithoutresortingtoderivativebreakdownsorbravado.Instead,theycombineaudiosavagerywithatongueincheekethos.

Ialwaysfeelalackofcriticalprowessinusingtheidiom‘goodriffs’tojustifyapieceofmusic,butinthiscase,it’sobjective.Blacklistershaveanearforwhatmakesa‘goodriff’.Check

Albums

s29 29

outalbumopener‘ClubfootbyKasabian’toseewhatImean.Whateveritis,sublimeorotherwise,Blacklistersaremastersoftheirowngameandthey’vebarelybeenoutofmyhi-fieversince.Benjamin Rutledge

Hawk Eyes – Ideas (Brew Records)

Therearesomebandsthatyoulovebecauseyoucanrelyonthemtoproduceaconsistentqualityofworkeverytime–likeAC/DC,forinstance.WhoamIkidding?Youlovethembecausethey’vebeenproducingthesamealbumforthelastthirtyyears.In2010,HawkEyesdidthatliterallybutgrudginglywithModern Bodies.In2012Icanreassureyouthattheyarenotdoingthisagain. Ideasisacompletelydifferentfish–infact,I’dbetemptedtosayitwasacompletelydifferentspecies.

Itisstillafast,riffheavypieceofwork,buttheemphasishaschangedfromcrammingeachsongwithasmuchpunishingfretworkaspossibletocreatingmammothmelodieswithKyuss-deepbass,Mastodon-likecomplexityandKorn-ishbeats;therearechorusestosingalongtoaswell.

ItishowevertherevelationthatPaulAstickcansinglikeJoeyBelladonnaorMikePattonthatreallybringshomehowdifferentthisalbumistoanythingthathasgonebefore–yes,hecan

bark‘shotupup!’furiouslyon‘SkySpinners’,buthe’llfollowitupwiththeplaintive‘tospinbackdown’,andbythetimeyoureach‘BearsByTheHead’svocalgymnasticstheevidenceisoverwhelming–HawkEyeshavegonewaybeyondtherealmoftheincoherentscreamandvoiceasinstrument.

HawkEyesmaynotbeasangryasbefore,butthisconsideredapproachisjustas,ifnotmore,striking–targetsincludeherdmentalityin‘Bees’,desperateavaricein‘YouDeserveaMedal’,directionlessexistencein‘SkySpinners’.Butdespitethefrustrationfeltbytheband,thepowerofthemusic,rhythmandriffkeeppushingitthrough.Evolutionisamessybusiness,butbygollythisisonebeautifulmess.Rob Wright

Holy State - Electric Picture Palace (Brew Records)

ThisLeeds(viaNorwich)four-pieceridethecurrentwaveoffirstgenerationindie-rocknostalgiaonanLPaboundingwithtastefulreferencestoFugaziattheirmorelanguid(‘AgeofADHD’)andSonicYouthattheirmostreined-in(‘Ride’).HolyStatestudiouslyreplicatethestylisticquirksoftheirillustriousforebearstoconstructsongsrepletewithnimbleguitarlines,insistentmelodiesanddynamictwists;theleadsingerevengivesThurstonMoore’sdistinctivedrawlanEastAnglianspin.

Suchrelentlessreverencecouldwearthinoverthecourseoftwelvesongs,buttheconcisionoftheband’sapproach-whichrarelyallowsatracktopassthethreeminutemark-sendsElectricPicturePalacerushingbyinakinetichazewhichisundeniablyfun.We’renotjusttalkingsuperficialthrillseither–there’ssomerealcraftondisplayhere,fromtheinfectiousstompof‘LadyMagika’tohook-filledbarroomdelight‘MedicineHat’andtheverging-on-the-anthemic‘SolidStateMessiah’.Inshort,it’sanalbumfullofreasonstocatchthebandontheirvaledictoryMaytourandtolamenttheirearlypassing.Admittedlyyourreviewerfitssquarelyintothepost-grungedemographicatwhichthey’resquarelyaimed,butatleastHolyState

don’tsullythelineagetowhichtheylayclaim.Indeed,iftheireffortsturnyoungerlistenersontothegenretrailblazerstheirsoundsoskilfullyechoes,I’mallforit.Greg Elliott

Pulled Apart By Horses – Tough Love (Transgressive Records)

LastyearsawPulledApartByHorseseponymousdebutunleashedonanunwarypublic,andboywasitafullontantrumofstupiddiatribes,shrieking,guitarsandmorenutpicksthanyoucouldshakeaplectrumat.NowIwouldn’tsaythat‘ToughLove’isamorerestrainedoffering;it’sstillcompletelyderanged.Iwouldhoweversayitisamoreconsideredofferingand...Idon’twanttosayit...moremat...matu...look,thismaytakeawhile...

Startingwhereweleftofffromthelastalbum,‘V.E.N.O.M’isasunrelentingafacemelterasyoucouldget,joiningthedotsbetweenMotorheadandGoldEarringviaAnthrax,withavocalintensitytomatchanythingfromthelastalbum.Thereishowevermorebeneaththefury;afrustration,venominfact.Theangeronthelastalbumwasjokey,goodhumoured;thisispotentiallydangerous.There’salotoffearonthisalbumtoo.Thefearofageingandnotchangingon‘WolfHand’–‘WhenIwasakidIwasadick/Butnothingchanges’;thefearofpeopleon‘NightofThe30

Living’;andthefearofnotbeingcool/beingtoocoolon‘DegenerationGame’and‘ShakeOfftheCurse’.WhatTomHudsonhasmanagedtodohereisamasterstrokeoflyricallaconicunderstatement.Snappyandtothepoint.

Butdespitethisthealbumisawholelotoffun,withitsBMoviereferencesbothinthesongsandthemusicandpillagingofthegenresfromthrashtoglamandIkidyounotyouwillplaythisoverandoveragainjusttosingorthrashorempathisealongto.Butthisisnotjustabitoffun;thisisalonghaulalbumforalonghaulband.

Mature.There,Isaidit.Rob Wright

Various Artists – The City Consumes Us (Rhubarb Bomb)

WakefieldmusicmagazineRhubarbBombisfiveyearsoldthisyearanddecidedtocelebratethefactbynotonlyputtingtogetheraCDofexclusiveandraretracksdonatedbythegreatandthegoodoftheCity’smusicscene,butalsobywritingabookaboutthewholething.Hubris,youmaythink,butasthismindbogglinglygoodCDdemonstratesforasmallcityofonly75,000inhabitants,WakefieldhasanembarrassmentofmusicalexcellencethatpercapitaprobablybettersthatofLeeds.Noreally.

There’sonlyacoupleofweaktracksonthis18songcompilationandalthoughyou’dhardlyexpectahand-pickedselectiontoincludemanyduffers,thevarietyonofferisamazingandifnothingelsethisCDshouldlaytoresttheideathatallWakefieldbands’soundthesame.Thebestthingaboutitthoughisthatallthereallystrongtrackswererecordedthisyear,somespecificallyforthecompilation,andsuggestthatsuperbmusicissettoflowfromthecityfortheforeseeablefuture.

There’snotenoughspacetomentionalltheoutstandingtrackshere,butyoushouldgettheCDatleastfor:Middleman’s‘HateYourself’,abrilliantbutuncharacteristicallydarkandbroodingruminationonbetrayalandback

openswiththeWire-esque‘HarmsSweetWay’,itspropulsivesoft-topdownsheetmetalriffsuggestingthatTTAFmayhavehot-wiredaMustanginordertoescapethepostindustriallandscapewekeeptryingtoimprisonthemin.Iftheydidwhereweretheyheading?Theobviousclueisinthecloser,‘SomeoneElse’sRainbow’–TTAFunplugged,powereddownandchillinginLaurelCanyon?Tooradicalajourneytocontemplate?Perhapsyoushouldjointhemandthendecide.Martin HaleyAvailable free from http://thetruthaboutfrank.bandcamp.com/releases

Arizona Bay – Refuse (Self Release)

Toooftendobandsthesedayshavemediocreleadvocals.Relyingmoreontheirdolled-upguitarriffsandtheirrepetitivedrumpulsationsthanonthemanatthefront.Thankfully,ArizonaBaysubvertthisshitriddenconventionthatsomanybandsseemtofallinto.Youwantproof?ThencheckouttheirnewalbumRefuse.

Ifyouwereoneofthosewhogrewupinthemidstofthegrunge-dominatedmediaphaseinthe90’s,thenyouwillrecognisethisalbumashavingsomepotential.Maybegrungeisthewrongtermhere,asthatinsinuatesareturntothe90’s,whichisn’tthecase.Post-grungeismoresuiting,asthealbumismoreofacocktail-timemachineofmodernrockwithtraditionalgrittygrungeriffsthatgivebirthtoamusicalhybrid,whichsoundsprettydamngood.

stabbing;Protectors‘Cauliflower’apunchy,chunkysongthatboastsachorusworthyoftheBeatlesattheirverybest;Lapels‘HowIKilledTheMagnethead’,afantasticexampleoftheideathatallittakesisabattered,bangedoutacousticguitarriff,imaginative,freewheelinglyricsandbucketsofattitudetomakeagreatsong;OneDay,AfterSchool….’ssparseandskeletal‘NovaScotia’,whichdeliberatelypayshomagetothegreatArabStrap;andthefrazzledpunkofRunaroundKids‘Undress’.

Thebookwillprobablybeagoodreadtoo.

Steve WalshRhubarb Bomb are funding the CD and book through a Pledge Music campaign – go here http://www.pledgemusic.com/artists/rhubarbbomb

The Truth About Frank – Dandelion Radio Sessions (Self release)

ReadersmayalreadybefamiliarwithLeedselectronicduoTheTruthAboutFrank(TTAF)andtheirfulldebut‘CannibalWorkEthic’(CWE),votedoneofVibrationsfavouritealbumsof2012.The6trackson‘DandelionRadioSessions’arecompiledfromtwoseparatesessionsthatpredateCWEandtothisextentseemlessdeveloped.

However,whatthelightertouchevidentintheserecordingsdoesisofferlistenerstheopportunitytolookbeneaththesurfaceandgetabetterfeelforthecoreforcesatplaywithinTTAF.

OrperhapsIamtakingitalltooseriously;maybeIshouldjustputitonanddance,becauseessentiallythat’swhatitmakesmewanttodo.Notinajoyfullyexpressivewaybutmoreastheconscriptedmemberofasynchronisedblastfurnaceworkerdancetroupe,droppingEsanduberstruttinginanabandonedEastGermanfoundry.Thesearingindustrialjazzopener‘OxygenOrgy’establishesthetoneinthisrespectactingasaviscousprecursortothemoreminimaltranceof’SectionB’andorchestralmachinefrenzyof‘HeadlessRentman’.Sessiontwo

Vibrantindicatorsofthebandspotentialcanbefound;‘Footsteps’,‘OpenFire’and‘LettingGo’wheretherefinedgrungesynchronicityshinesthrough.Themoststrikingelement

isundoubtedlyRhysWilliams’voice,whichhastobesaid,isexactlyhowagrungevoiceshouldsound.Hittingthehighandlownotestoproduceanalternativemelodicdimensiontotheband’stracks,Williams’voicemakesthealbumwithaparadoxofruggedperfection.However,theSeattlescenetendstoinfluencehissingingaccentattimes.

That’saminorissuethough,andfocusshouldbeplacedontheband’scollectiveabilitytoproduceaneasylisteningalbumthathasgreatpotentialtobecomesuccessful.Definitelyonetolookoutfor.Jonathan Lees

Wilful Missing – Molehills out of Mountains (Little Attic)

WithanamelikeWilful Missing,Iexpectedthistobesomesortofmodernagefolk.Iwasnotfarfromwrong.Theopeningof‘CryfortheCity’isabeautifulopener(Iamasuckerforalittlebitofmodernclassicalchoir).

HalfwaythroughIcan’thelpbutthinktheyarejumpingonthisfadoffolkmusic.Don’tgetmewrong,itisagoodsong,anamazingsongthatiswonderfullyproducedandcreatedwithsuchenthusiasm,butitdoesnotexciteme.IfeellikeIhavehearditbefore.

‘TheWaltz’hasexcitingpartsthatmakesyouwanttoraiseatoastandsingalongduringthechorus,butthenassoonasyougetintoit,it’ssnatchedaway.

‘IAmClay’isarefreshingsongtohearonthisalbum.Itisupbeatandmakesyouwanttomove.Thisismyhighlightofthealbum.IftherewereafewmoretrackslikethisIthinkthatwouldratethealbumalittlehigher.

Overallitisagoodalbum,itjustlacksincertainaspects.Ifyou’reintoslowandpeaceful,thenyouaregoingtoloveit.Butformeitdoesgetsameyafterawhile.Rochelle MasseyAvailable to buy from http://www.marchofdimesmusic.com/sleeping-giant/

Cable 35 – Louder (Self release)

Anotherday,anotheralternativebandfromYorkshire.Thankfully,however,likemanyofthebandsfromaroundthisregion,Cable35arenotabigpileofconformisttripe.Insteadtheyareloud,brash,excitinganduniquelybrilliant.WithasoundthatmeetssomewhereinthemiddleofPulledApartByHorses,HawkEyesandNirvana,Cable35’sdebutalbum‘Louder’doesexactlywhatitsaysonthetin.

Startingwithoneofthegrungiestandbesttracksonthealbum,‘CowHead,’thealbumcontainsamammoth16songs,whichinthisageofshortattentionspansandquickfixescouldhaveprovedacostlymove.However,wheneverysongisasgoodasthis,whywouldyouleavesomeout?Fromthedistortedguitarsandsnarlingvocalson‘CanI’totheslowanddarkPixies-liketonesof‘LostCity,’thealbumpacksameanpunch,bothaboveandbelowthebelt.

Favouritesonthisdebutinclude‘HouseOfFire,’whosechorussoundslikeabrutalhomagetoMadness’s‘HouseOfFun’;‘FactInSpain’whichplayshosttoadeliciousguitarsolo;‘ComeDownToParty,’amelodicyetgrittyaffairand‘Memories,’atempo-switchingbeastthatyoucan’thelpbutbangyournogginto.

Theydon’thavethemostrockandrollnameinmusic,nordotheyhavetheluxuryofbiglabelmoney.WhatCable35dohaveismorepreciousthanthat:talent,mostofwhichseemstohavegoneintothisblisteringly,fantasticdebut.Emma QuinlanAvailable to buy from http://www.cable35.co/For more reviews, go to www.vibrations.org.uk – it’s been a big month!

Bilge Pump/Two Minute Noodles/Cowtown @ Brudenell Social Club, Leeds

FirstupisCowtown,whosebouncyquirk-rockhasyousmilingandnoddinginthemostpositivesensesofthewords.TheDevot-shirtadornedbysynth-maestressHillaryKnottgivesacoupleofideasastowhereoneshouldlookforinfluences,butforthoseunacquaintedthey’relikeagrungierWhiteStripeswithalesstokenisticdrummerandfarmorefreneticsound.Alittlebitone-dimensionalperhaps–it’sallatad‘smashandgrab’-butstill,bytheendoftheirsharpsetI’msohappyIcouldpissmyself.

Two Minute Noodlesstepupnowtohavetheirsayandit’sanotherline-upthatpleasesmefromtheoff.Aduoofdrumsandelectricorgan,thisiswhatIimagineanice-creamvanfightingitswaythroughthezombieapocalypsewouldsoundlike.Whatamazesmeishowwellitallhangstogether–thedrummingisespeciallybrilliant(andapleasuretowatch)withitsfranticbeatsanditsgeneralpissingaboutwithtempo.All-outstomper‘BlackRod’hastobetheclincherthough;thesearesomebadasstunes.

Asifthatwasn’tenough,scenepatriarchsBilge Pumplineupforadoseofheavyriffingthathastheheadsgoingonceagain.FansofThatFuckingTankwillrecognisethestyleofrock-riffmashupswhiletheproggylyricsassertBilgePump’sstatusaskingsamongnerds.SomethingaboutthemremindsmeofRush.Notsurewhy,butIimaginethatcomparisonmightgetmeintotroublesomewhere.Amore‘traditional’rocksoundtoendthenight,butnolessballsyandexcellent.Tim Hearson

Hawk Eyes/These Monsters/Hookworms/Shallows @ The Brudenell Social Club, Leeds

Tokickstartthismetalpackedmontageofmayhem,aworthyprecursorfortheheadlinersShallowswerethefirstbandtotaketothestage.Shallows’talentedfemalesingerdominatedthezonewithanunforgivingdisplayofstrenuousvocalability,whichthecrowdseemedtoenjoy.

Hookwormswereupnextandtheirpsychedelic,coolstyleofrockwasapleasantchangeofpaceinthevenue.Thebandwasvisiblyhyped–theirelongatedguitarriffsandthoughtfulcombinationsofveryimpressivekeyboardanddrumvibesreinforcedtheunconsciousjourneythateveryonewasbeingtakenon.

AfterHookworms,These Monstersgearedup.Ididn’tknowwhattoexpectfromthistrio,butevenaftertheirfirstcoupleofsongsIwasblownawaybyhowawesometheywere.Fast,sharpandtastymetal/rockriffsthatsmashedeveryonesquareintheirfaces!Sufficetosay,everyone

lovedit.Thefront-manemittedascreamingvoicethatperfectlymatchedthespeedofthecomposition,finishinginabarrageofclapsandcheers…Definitelyonetolookoutfor!

Finally…Hawk Eyes.Althoughthecrowdhaddiminishedslightly,thevenuewasstillrammedandeagertoabsorbthenewtracksfromtheirupcomingLP,‘Ideas’.Notimewasted:theyquicklyshowedthecrowdwhytheyareoneofLeeds’finestliveacts.HawkEyesblewthelidofftheSocialClub,performinganexplosivearrayofmetal.Tracksplayedtonightincluded‘KissThis’,‘NASAvs.ESA’and‘Headstrung’,eachproducingawaveofnoddingheadsthatbrokeoneachdrumpulsation.Theirnewdrummerisananimal,andthebandasawholeareexceptional.Anintriguingnight.Jonathan Lees

Pulled Apart By Horses @ The Leadmill, Sheffield

Takingtothestagetothenot-so-dulcettonesof‘RequiemforaTower’,it’sclearthatPulled Apart By Horsesmeanbusiness.Bigbusiness.Twoalbumsinandthreateningtobreakthelockonthedoorofmainstreamrock,theyhavealottoproveandtonight,inSheffield’sTheLeadmill,theydosowithaplomb.

Ifthesonicassaultofopener‘IPunchedaLionintheThroat’heraldsthebattle,then‘BromanceAin’tDead’andnewsingle‘V.E.N.O.M’wagethewar.BothtracksarefromnewalbumTough Loveandtheheavybutremarkablytightriffsarerecallednoteperfectly,displayingjusthowfarthebandhavecomeasaliveunit.

Thenotablytattooed-older-maledominatedaudiencelendsitselftosomeformidablecirclepitting,eveniffrontmanTomdoesputthekiboshononeaudiencemember’sdrunkenrequestforawallofdeath.PulledApartByHorsesarenotpugnaciousmen:infact,theycomeacrossasahumbleandwell-groundedfourpiecewhoprofessthemselvesthiseveningtobe‘justabunchofshitheadsplayingmusic.’Allhumblenessaside,thereisdefinitelysomethingabouttheirepic,chuggingbreakdownsandbrilliantlyludicroussongtitlesthatseemtodemandariotouscrowdresponsemorebefittingofaSundayderbybetweentwoYorkshireteams,creatingajubilantatmospherethatlastslongintothenight.Missionaccomplished.Jenessa Williams

Submotion Orchestra @ The Wardrobe, Leeds

IwasintherarepositionofreviewingabandIhadneverlistenedtobefore,ararebutgoodposition.Beforegoingtothegig,IbegantoconjureupmyownideasaboutSubmotion Orchestra.Mythoughtsweresolelybased

ontheirnamebutitturnedoutmypredictionscouldn’thavebeenfurtherfromthetruth.Theyweren’tquitetheorchestraIwasexpecting.

EnteringapackedoutvenuewasmyfirstindicationofSubmotion’spopularity.ForthefirsthalfofthesetIcouldn’tevenseethestage.Perhapsthiswasapositivethingthough,asIcouldmakemyjudgmentsbasedsolelyonwhatIwashearing.

Towitnesssuchanarrayofextraordinarysoundswasmindblowing;itwashardtotellwhetherIwasatanindiegigoranundergroundrave.ThebestwordIcanusetodescribetheatmosphereinTheWardrobewas‘buzzing’;therewasn’tonestillbodyintheroom.Itwasalsointerestingtoseethemixtureofpeopleatthegig,provingthatSubmotion’smusicreachesawideaudience.

ThevoiceofsingerRubycouldeasilyrankhighamongstsomeofthegreatestdancemusicsingersofourtime:similartoKatyB,butwithmuchmoredepth.Thisvoiceiscomplimentedsoperfectlybytheuniquedub-step-meets-jazzsoundcreatedbytheothermulti-talentedmembersoftheband.Allhailingfromvariousdifferentmusicalbackgrounds,eachmemberbringstheyownflavourtotheexceptionalSubmotionOrchestra.TheirnewsingleIt’s Not Me, It’sYouisdefinitelyonetoaddtoyouriPod.Stacie Lloyd

Extra Curricular @ Hifi, Leeds

It’sthestartofthenight;we’reallthinkingaboutdancing,butnooneisatthatlevelwherealcoholhasreplacedinhibitionsowe’reallawkwardlyshufflingatthefrontofthestage.Thehardcorefansmighttakeitupageartoatentativetwostepinpreparationforthebandbutthewholeroomisselfconsciouslyholdingontotheirdrinks,savouringeverysip,becauseotherwisewe’regoingtohavetothinkaboutwhattodowithBOTHarms.

HoweverassoonasExtra Curriculartaketothestage,drinksarethrownback,clothesarecomingoffandeveryone,andItrulymeaneveryone,getsdown.StrangersaredancingwithstrangersandeveryonehasforgottenwhethertheirhairlooksalrightorifthatguyfromFridayishereyet.Soonenoughthewholeroom

issweating,thekindofsweatthatnooneisgoingtojudgeyoufor,thekindofsweatthatmakespassersbyonthestreetjealousbecauseyou‘vehadabettertimethantheyhave.

It’snotjustthemusicExtraCurricularcreates-it’stheatmosphere.Thesetwasperhapsalittletooshort(theycouldhaveplayedallnightanditwouldn’thavebeenenough)butitdidleaveeveryonewanting(andchanting)formore.Hana Walker-Brown

Arthur Rigby & The Baskervylles/Hunting Bears @ Nation of Shopkeepers, Leeds

OpenersHunting Bearshavealush,fullsoundwhichisimpressiveforafourpieceandowesmuchtothedoublebass/violincombo.BattlinghardagainstShopkeepers’punk-friendlyacoustics,there’sabuzzofchatterthat’sneverquitequasheduntilgorgeouscloser‘OnlyinMySkin’,atender4-partharmonycountrychorale,leavesthemajority’scollectivejawhanging.Personalfavourite‘HeavyTree’alsopacksabitofapunchonceitgetsgoingbutthisgentlebandcoulddowithperfectingtheircrowdhandling.

Arthur Rigby & The Baskervyllesarenextupwithamassivepopsoundandaboomingbaritonevocaldelivery:Ican’thelpbutfeellikeI’mbeingsungtobya1920saviator.Thatsaid,it’sthecreative,vibrantbrassarrangementsthatmakethisreallyspecial:fanfares,choralesandtheoccasionalsweepingflutelinehaveapastoralcharmandgivethewholesoundamassivemid-rangeboost.Oneparticularlyeffectivesonghastherhythmsectionpoundingoutalowgroovethatshowcasesthisband’searfortheoverallpackage.

IfIamtogripe,allthemostenergeticandbestwrittensongsseemtocomeatthestartandIcouldn’thelpbutfeelliketheperformanceseemedtosettledownabittoomuch.Also,thedrummer’ssenseoftimingisliberalatbestbuttohiscreditIthinkitaddedabitofextraenergytoproceedings.TheseareveryminorcriticismsthoughasArthurRigby...areoneofthemostinventivebandsI’veseeninalongtime.Inaword:sterling.Tim Hearson

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Pengilly’s/Garnets @ Brudenell Social Club, Leeds

OpeningupthenightisGarnetswhoaremellowandspaceyoftheilkofHernameiscalla,TomorrowWeSailetal.Theslowmovingcompositionsshowalotofpromisebutprovesomewhatformulaic.ThiskindofmusicneedsepicrisesandfallstograbyourattentionbutGarnetsmusicbyandlargeplateausaroundthemid-range.Also,thelaptopadditionsseemslightlytokenisticgiventheonstagekeyboard.Don’tgetmewrong,alltheingredientsareinthere–Garnetsjustneedsthestonesandthevarietytoshakethingsupabit.

Pengilly’sareabitspecial.FrontmanRicHollingberryhasafaceyou’dlovetopunchandanunabashedlysouthernwhine(thinkTheKooksdialledupanotch)buttheirsoundiscaptivating.Strippedback,synthladenandcerebral,there’sadarkgroovetotheseminimaltunes.Leadsingle‘Toby’sHill’startswithHollingberrylayeringupaloopedchoralebeforedippingintoawarmbathofelectronica.AddinsomeRadiohead-worthybasslines–alsoashamelessripoffoftheonefrom‘TheImmigrantSong’–anddrumsthatsizzleandshimmerandyou’vegotabandwhodeserveeverybitoftherecentradioairplaythey’vebeengranted.Ahomecrowdandfairlypackedroomgivethisgigagreatatmosphereleavingmeverylittletoquarrelwith.Tim Hearson

Asa Hawks/Round Window/Iona Dhrum @ Carpe Diem, Leeds

LasttimeIwasatCarpeDiem,someonecameinandspatatthebarmaid,followedbyapitchforkwieldingmobshouting‘burnthewitch!’Ireallyshouldgetdownmore.

Actually,it’snotbeenthatlong(thoughthespittingpartistrue)butithasbeenratherremissofmenottocheckoutCDandGrainDivisionandtokeepaweathereyeonwhat’sgoingdowninthetown.NaughtyEd.

I’vealwaysbeenabitwaryof‘projects’andwhenJessKershawannouncesherselfastheprojectIona Dhrum,warningbellsstarttochime.ShethenstrikesupanetherealkeyonherRolandandsingsaboutdriftystuff.Thedriftystuffisnotreallyherthoughandhardlyadecentmatchforhervoice,whichisstrongandwarm.Fortunatelyshepicksupaguitaranddoesherselfjusticewithsomemoreearthytunes.Thisisthegoodstuff,stickwithit–beloud,beproud,beJessKershaw.

IstartdoodlingabitofstickmanpornduringRound Window’sset,whichisneveragoodsign.Theyaredefinitelyproficient,butthemusicisinterestingratherthanexciting–ablendofprog,folkandgoodoldfashionedrock.It’sabit...indulgentandtwiddlyandcan

besummedupbytheleadsinger’sconfessionof‘writingthisoneinaconservatory’.Thelastsongreallystepsitup,though,inclassic‘Who’style–thisisreallywhateverythingelseshouldsoundliketoo.Getoutofthatconservatory.

Despitecomingonat10.45,The Asa Hawksshownosignsoffatigueandstrikeupajauntycountry...sorry,‘Americana’,numberthatischockfullofjoiedevivre.Katy,inaverysparklytop,comesacrossasaYorkshireKirstyMcColl,vocallycharmingandapproachable,whiletherestofthebandcreatesaDickDale/JamesYorkston/JohnnyCashgroove.It’sfunny,it’senjoyable...it’sbloodycheekyinplaces(especiallytheliftingofaCureriffandthecasuallydroppedinhomagetotheDueling Banjos)butmorethanthat,thebandarelovingit.Thatmakesthemverylikeable,formeandtherestoftheaudience.Youmightlikethemtoo.Rob Wright

Kane-Hession-D’Silva/Swinepipe @ The Fox & Newt, Leeds

Thiswasthefirstina(hopefullylongrunning)seriesofjazz/improvgigsunderthenewFuseboxbanner,actuallyacollaborationbetweenarevivedLeedsJazzandareactivatedLeedsImprovisedMusicAssociation(LIMA).Don’tknowaboutyoubutI’mexcitedalready.

PriortothisgigIhadn’treallyappreciatedthefullrangeofinstrumentsincludedintheclarinetfamily.Swinepipe,atrioconsistingofRichardOrmrod,HelenBainesandOllieDover,comearmedtotheteethwithdifferentversionsoftheinstrument,andareheretoeducateanyonepreparedtolisten.TheyopenwithanAstorPiazzollatangowhichhighlightsthetraditional,warmlywoodysoundofthestandardclarinet,butthenmoveontoapiecewiththreebassclarinetstocreateadeep,hypnoticdrone,andfinishwiththeireponymousanthemwhichdoesagoodjobofcreatinganearsplittingstormofnoisenotunlikeelectricguitarfeedback.No,really.

LeedsborndrummerPaul HessionandLeedsbaseddoublebassistDave Kanearenostrangerstothenationalandinternationaljazzandimprovscene,whilesaxophonistKarl D’SilvamayonlybefamiliartoLeedsaudiencesfromhisotherbandTheTrumpetsofDeath.HessionandKanedominatethistriowithsometypicallyfuriousplayingfromtheformerthatcooksthemusictoboilingpointrepeatedlythroughouttheset,andKanerisestothechallengewithsomeragingplayingthat’sclearlyutterlyexhausting.D’Silvaseemsabitunsureofwhattodointhequieterpassages,possiblypromptingHessionandKanetokeepthingsloudandfast,anapproachwhichseemstosuitthesaxophonist’spenchantforshort,repeatedphrasesanyway.Steve Walsh

The Pigeon Detectives @ Elland Road Stadium, Leeds 18 AprilLeeds’definitivebeerylad’sbandliterallyplaystotheterracesinwhatisprobablytheirspiritualhome.Thisdateprecedesa16dateUKtourinMayofconsiderablysmallerindoorvenues.

Born to Brew/Chris Sharkey @ Fox & Newt, Leeds 20 April Virtuosic,maniacaljazzkeysmithMatthewBournebringshisesotericduoBorntoBrewtotheFox&Newt,supportedbyTrioVDguitardemon,ChrisSharkey.Moist.

Monmon/Round Window/Snakepot Fanny @ The Packhorse, Leeds 21 AprilThelowlyshowingoftheheadlinersGarageRockalbuminlastyear’sVibrationsFightBeforeChristmasshouldn’tputyouoffgoingtothisgig.Thealbumjustgetsbetterwithrepeatedlistensandthesongshaveextrawallopwhenplayedlive.

Rhubarb Bomb 5th Birthday ‘The City Consumes Us’ Launch @ The Orangery, Wakefield 21 AprilWakefieldmusicfanzine,RhubarbBomb,is5yearsofageanditlookslikethey’rehavingabitofado.ThelineupconsistsofastellarbunchofWakefieldstaplesincludingTheSpills,PiskieSits,RunaroundKids,MiMye,ImpandStGregoryOrange.Thelaunchisalsoinaidofreleaseofaspecialbook,TheCityConsumesUs,apledge-fundedbiographyoftheWakefieldmusicscene.

Renegade Brass Band @ Hifi, Leeds 22 April Ahorn-basedfunktacularfromSheffield,thesecanholdtheirownagainstthelikesofHypnoticBrass,YoungbloodandHorndog.

Sir Richard Bishop/Michael Flower Band/Herb Diamante @ Fox & Newt, Leeds 24 AprilTheFox&NewtisrapidlybecomingTHEplacetocatchthecreamofavantgardeandleftfieldbandsandmusiciansinLeeds.GuitaristSirRichardBishopfoundedSunCityGirlsthirtyyearsagobutisaprolificcollaboratorand,probablyhismodusoperandiatthisgig,soloperformer.MichaelFlowerdoesmagicalthingswithnoiseandHerbDiamantedoesweirdstuffinsong.

Submotion Orchestra @ The Trades Club, Hebden Bridge 26 April ClassyLeedsjazz/dubstepoutfitfeaturingsomeofthetopjazzmusiciansthecityhasproducedinthelastfewyears(includingTommyEvans,SimonBeddoe)andtheseductive,smokyvocalsofRubyWood.Lastyear’sexcellentdebutFinestHourdeservesawideraudience.

From A Bad Girl @ Heart Community Centre, Headingley, Leeds 28 AprilThisquintetfeaturesNorwegianvocalistKariBleivik,recentlyvotedVocalistoftheYearintheJazzYorkshireAwards2012,andthebandusejazz,Scandinavianfolkmusic,experimentalandimprovisedmusicinsettingsofthewordsofSwedishpoetKarinBoye.ThevenueisarecentlyopenedcommunityandartscentreinHeadingley.

Live at Leeds @ All over Leeds, 5 MayYes,it’stimefortheannualday-longmusicslogthatisLiveatLeeds.You’lllaugh,you’llcry,you’llprobablyneedanaphalfwaythrough.AbsolutelysomethingforeveryonewithLosCampesinos!MarinaandtheDiamondsandTheEnemyrubbingshoulderswiththelikesofScroobiusPip,GhostpoetandBlacklisters(thoughprobablynotactually,couldyouimagine..?).

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It is a sad fact that the music industry is not as groovy as everyone would like to think – there is still a lot of gender-based inequality out there… and it really needs to go the way of the dinosaur. Fortunately, music tends to attract the sort of people who want to do something about it, as Kate Wellham discovered at the inaugural Wombeatz Conference. Some of this may come as a shock to you…

It’sInternationalWomen’sDayandwe’reonourwaytoaman-hating,hairy-leggedmusicaleventsomilitantthatit’sbeenorganisedexclusivelyforgirls.I’mimaginingitasasortoftrainingcampwherewewilllearnsuchdarkartsashowtorenderamaninfertilewiththeflickofasingledrumstick,andhowtoclosethepaygapbytakingour17%fromtheremovalandsaleofhisnowunnecessaryorgansasmaracas.

Theinconspicuousvenuehasbeenmadeslightlymoreconspicuousbythesporadichangingofpinkandblueballoonsbothinsideandoutside–theonlyindicationthatanythingsinisterisgoingon.

Yes,pinkANDblue.ANDthere’saboyhere!Andinsteadofplanstotakeovertheworld,therearebiscuits.

Whatsubversionisthis?

Sneakingapeekintothevariousroomsrevealsmanyperfectlyfriendly-lookingwomenteachingandlearningthebasicsofsoundengineering,DJingandrecording–thetechnicalsidesofthebusinesswherefemalesareundeniablyunderrepresented.

Whatisclearfromthehappyparticipantsisthatthisobviouslyfeelstothemlikeasafeplacetoaskanykindofquestionnomatterhowsillyitseems,toplay,togetthingswrongafewtimes,andtotrysomethingcompletelyalien,withoutworryingabouttheconsequences:afundamentalneedinorderformanyofthesewomentoevenbegintotrysomeofthesethings,astheyeachlaterexplain.

“We’renotsayingwe’rebetterthanguysorwewanttobeseentobebetterthanguys,it’snotaboutthat,it’saboutofferingtheopportunityandencouragementtogetmorewomentotrystufflikethis,”saysSarahStathamfromLeeds-basedorganisation,Wombeatz,whoareresponsiblefortheevent.

Sarah–whoisinabandherself,EsperScout-goesontoexplainthattoday’seventisnotabouthatingmenandwantingthemtogoawayandleavemusictous,itismerelyaboutgivingwomenanenvironmentwheretheycanexperimentwithsomenewskillsoutsidethetypicallytestosterone-heavymusicsceneinwhichtheywillfindthemselvesimmersediftheydivestraightin.

Andit’sthedivingstraightinthatistheonlywaytolearn,butwhichsadlyseemstobethemostintimidatingpartforwomenwhowanttotrytheirhandatanythingtodowithmusictechnology.

Ifyou’reamanreadingthis,andyou’reinanywayinvolvedinmusic,thenyou’llprobablyhavefeltsometrepidationatattemptingsomethingbeyondyourtechnicalability;maybeifyou’reamusicianyou’llhavefeltthenauseatingnervesthatcomebeforeaperformance;orifyou’vepromotedthenyou’llhavehadtofrontuptosomeoneatsomepoint.Butthechancesareyouwon’thavefeltonthebackfootfromtheverystart,becauseofyourgender;youwon’thavefeltalleyesintheaudienceonyouforthewrongreasons;youprobablywon’thavebeenreferredtoasaboyband;youwon’thavebeenblankedcompletelybyabusinesscontactwhorefusestotalktoyoursort;andyouwon’thaveexperienced–actuallyexperienced,ratherthanimagined–thecrushingexpectationsfromeveryonearoundyouthatwhateveryouareabouttodoisprobablygoingtobealittlebitshit,withanymistakeyoumakemerelycementingpreconceptionsofyourinability,addingextrapressuretoeverythingyoudo.

Isitanywonderthatfewerwomenthanmenarewillingtoventureintothatworld?Andbecausetheydon’t,theyremainararity,andthewholecycleperpetuates.Welcometojustsomeofthereasonsthateventslikethisonearesoimportant.Clearlyit’stheinitiallackofconfidencethatALLnewcomersofeithergenderexperiencewhichisholdingonlythewomenback.

Andifyou’rewonderingwhyIthinkthisishowwomeninmusicoftenfeel,it’sbecausethisiswhattheytalkaboutduringtoday’spaneldiscussion.

Thediscussionbeginstentatively,butquicklybecomespainfullycandid,withaudiencememberssharingtheirconcerns–bothrealandimagined–withapanelwhohaveallseen,heardandexperiencedsimilarthings

This Women’s Work

before.Althoughthereisverylittleinthewayofdownrightdisrespectthathasbeenshowntoanyoneintheroombymenintheindustry,itistheinnocentassumptionsthathurtthemthemost.Theassumptionsthattheywon’tbeasgoodastheyare:“Iget‘you’reloadsbetterthanIthoughtyou’dbe’alot,whichisnicebutwhenyouthinkaboutitit’sreallysad,”saysKeliiCompulsive–frontwomanofObsessiveCompulsive,labelowner,punkclothingentrepreneurand‘zineeditor-ofthefeedbackshegetsduringgigsandsoundchecks,probablyfrompeoplewhodon’thaveatenthoftheexperienceshedoes.

Andit’snotjusttheperformerswhogetit:“Ialwaysfeelthatamalesoundtechnicianstartswith100%credibility,andthenanythinghedoeswrongistakenawayfromthat,whereasIstartwith50%andhavetoworksohardtobringthatuptoalevelwhereI’mrespectedasmuchasheis,”saysHazelPlummer,oneofthebestsoundtechniciansofeithergenderinthecountryrightnow.Shealsorevealsthatsheonceworkedforsomeoneatavenuewhowouldnottalktowomenatall,andtogetaroundthisshehiredasmanyfemalesasshecould,tomakesurehehadtogetdamnwellusedtodealingwiththem.

AlsoonthepanelareJoKira–aDJwhoconcedes(tothegeneralagreementofall)thatotherwomeninthebusinessdon’talwayshavethemosthelpfulattitudeseither(“womencanbebitches”),andwhodressesupwhensheplays,butstrictlyforherself.

Infact,allwomenintheroomacknowledgethathowtheylookisoftenmademuchof,whichcanleadtosome

confusionwhenwantingtoexpressthemselves,butwithoutbuyingintotheideathatit’sthemostimportantthingaboutthem.“Iliketomakeaneffort,butIdon’tseewhywomenshouldhavetogettheirkitofforbesexyinasituationwhereamanwouldn’t”,saysKelii,whoisalsokeentopointout“Idon’thaveaproblemwithmeninmusicatall,I’minabandwithsomeofthemandthey’rebrilliant.”

Castingaglanceatthepilesoffeedbackformspiledonthedeskattheendoftheday,Ican’tseeasingleonethathasn’tmarkedtheeventasa10/10experience,withcommentshighlightinghowrelaxed,funandvaluablethedayhasbeen.

Clearlynoteverybodywillbenaturallyskilled,dedicatedorinterestedenoughtocontinuetoaprofessionallevelsimplybecausethey’vebeenofferedtheopportunitytolearn,butwithouttheopportunitytolearn,themusicindustrycouldbemissingoutonthosewhoarethatskilled,dedicatedandinterested.

Wombeatzneedfundingtocontinuetheirbrilliantworkinevents,equipmenthire,trainingandnetworkingaimedatwomeninmusictechnology,andthemoreinterestthereisintheirworkthemorelikelytheyaretobeabletogetit.Soifyouthinkyoucanhelpthem,wouldliketoparticipate,orwouldliketolearn,havealookattheirwebsitewww.wombeatz.com.Also,IcannotendthispiecewithoutmentioningImmiCardyakaDJImmiYeh,directorofWombeatzandwithoutwhomthiseventwouldnothavetakenplace.

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