K ASABIANExclusive!!! “We are not sell outs!”

SMILE 2010Brand NewNoah & The WhaleNeroHenry RollinsWhite LiesThe ThermalsLe MartellsPLUS A Preview of The Brit Awards!

Massive attack, Heligoland

Issue #2

CONTENTS

p. 4 - News! Kidnapped Music Journalists p. 5 - Mo’Club

p. 6 - SMILE ‘10

p. 7 - Universal

p. 8 - Kasabian “We Are Not Sellouts!”

p. 10 - Le Martells

p. 12 - Album Of The Issue: Massive Attack

p. 13 - Album Reviews

p. 14 - Brand New

p. 15 - Live Reviews

Masthead

Editor - Ines PunessenFeatures Editor - Ian EastonReviews Editor - Paul Ward

News Editor & Sub Editor - Claire RollinsProduction Editor - Carl Gwynne

Contributors - Ally Lyons, Andrew Sheppard, Bryn Jones, Cecilia Delporte, Jonathan Howley, Liam Martin, Marie-

Louise Cooper, Nicola Elliott

Disclaimer: All the views and opinions expressed in this magazine are not necessarily representative of the University. Southampton Solent University cannotbe held responsible for the individual views in this magazine.

Audio Addict is produced by students of the BA (hons) Popular Music Journalism course.

Dear Readers,

Whilst other cultures are celebrating Carnival and wearing a colourful touch of nothing, most of us in the UK are car-rying some excessive festive weight. Trying to hide it by wearing warm winter coats and facing strict diets. I’m sure that everyone would like a holiday abroad, because the grey in this city is too much to bare. However − we’re all skint from Christmas and we have to face a massive work load. So, what on earth could you do to cheer yourselves at the beginning of 2010? Need you ask? Read through this jam-packed issue of Audio Addict! We have musical bliss aplenty including gig and album reviews as well as exclu-sive interviews with Kasabian, White Lies, Noah And The Whale and local band Le Martells. This issue also features a preview of SMILE ‘10, Southampton Solent University´s Music Industries Live Event, which is hosting Rob Da Bank, amongst other respected industry names. Spring is near we promise – and along with it more fantastic releases which will certainly light up your everyday life!

Cheers,

InesYour faithful Editor

A Word from our Editor

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Amnesty International have launched an online campaign calling for the Iranian government

to reveal the whereabouts of two Iranian music journalists. Amnesty International claim that Iranian music journalists Behrang Tonekaboni and Kayvan Farzin were arrested and detained without proper justification. They were both arrested at their office in the monthly music publication, Farhang va Ahang, on the 5th January this year. Behrang’s mother was also arrested at her home on 20th January.

The reasons for the arrests are unknown, but the Iranian government has recieved much protest from the public, and may possibly be connected to arrests of many journalists, students and human rights defenders in recent weeks. Amnesty International UK Director Kate Allen said “We’re seriously concerned for the safety of Behrang, Kayyan, Lily and countless others.

The crackdown on dissent and free speech since Iran’s disputed election has been brutal and we’ve received many reports of torture”. She claimed, “And if they are being held solely for the peaceful expression of their views, they should be released immediately.Amnesty International have recently set

up a website requesting people to take action and send an email to the Iranian Government requesting the release of those unfairly prosecuted.

Since Iran’s disputed presidential election result of June 2009 thousands of protestors have been arrested. Well over 180 journalists, human rights activists, students and members of political parties linked to Mir Hossien Mousavi and former president Khatami are reported to have been arrested from their home or workplace. Carl Gwynne www.amnesty.org

Amnesty campaign for captives

Behrang Tonekaboni ... one of the journalists missing sinde June 2009

Towers play last ever show

Unit nightclub, Southampton will hold an event to celebrate the end of an era on Thursday 25 February 2010. When local favourites Towers (formally Waiting For Sirens) call it a day after being at the forefront of local talent for the last couple of years.

The rock/emo heroes will be playing before the In With The Out Crowd club night with support from Portsmouth’s Medison. Fear not though, this is not the last you will see of the boys, only the day after singer/guitarist Tom George will be performing an acoustic set at King Alfs alongside Burn The Fleet’s Andrew Convey. Paul Ward

Animal Collective release visual album

As if the trio of oddly (or aptly) named psychedelic scenesters couldn’t push the boat out any further, if an al-bum adorned with an optical illusion and a song written about Adobe Slabs wasn’t too weird. Avey Tare, Panda Bear and The Geologist aka Animal Collective have teamed up with direc-tor Daniel Perez to recreate their sound and splice it into the realm of cinema.

As you can imagine the inspiration behind the scenes draws on many sur-realist and experimental pieces choc-a-bloc with Dali-esque symbolism, the trailer shows a dizzying collection of images ranging from the custom-ary swirling colours to a robed man traversing the forest (rather sporadi-cally), with a trail of smoke billowing from his cranium. Attendees of The Sundance film festival were treated to the official premier of ODDSAC the other week to understandably mixed reviews on the one hand people left the tent wondering why they had wasted a small part of their lives on 54 minutes of surrealist tosh (you know the sort), the other half stumbled out claiming that they just experienced the closest thing to acid without ingestion. It seems pretty obvious to say that if you’re not a fan of either Animal Collective or surrealist cinematography then stay away because they don’t need your bad vibes, man. Liam Martin

Hope for release of two Iranian music journalists

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New live music venue opens in Southampton after Facebook anticipation

Launched in January, two of Southampton’s leading music promoters (Joiners Live and

AdvancePromotions) teamed up to have joined forces to present the city’s newest live music offering – Mo’Live. The Mo’Club is situated in the heart of the city centre, and will now be offering live music nights, aiming to bridge the gap between Southampton’s thriving club venue scene and the huge halls reserved for chart-topping artists.

For some years, Southampton has been searching for a medium-sized venue with a capacity of 400 plus, and they’ve managed to find somewhere that ticks all the boxes. The Mo’Club is similar in size to the Wedgewood Rooms in Portsmouth, and will provide a chance for touring artists to perform in Southampton, with support from local talent.

Rumours made waves as a Facebook group was created by Chris Stemp of Joiners Live, with the proviso that details of the venue would be revealed to all, if the group reached over 2,000 members. Needless to say within forty-eight hours,

Stemp kept his promise. “My role in this is online promotion,” explains Stemp. “Hence the viral marketing technique used to gain interest in the idea and bump up the group’s number so when we do send out events, it goes to a noticeable number of people. Over 4000 in 10 days wasn’t bad going!” Previously known for its Mo’Jive Roller Discos, the Mo’Club’s potential is staggering; with a view to it being transformed into one of the leading live music venues on

the south coast. “Mo’Live is of course a prominent Southampton venue in itsself. It is very successful in what is does with both its dancing and rollerblading,” reveals Dave Rowett, of Joiners Live. “Of course it’s still very much in the early stage of awareness

and development but our aim is to bring a higher level of act that isn’t currently available in the area”. The mood amongst local folk

was one of excitement as joint headliners Bury Tomorrow and Not Advised took to the stage for the first night. “What an opening night! Some great local bands on, and it was nice to see touring artists playing somewhere other than The Guildhall,” said a local fan. So there you have it, a grand opening and a promising future for the live music scene in Southampton. Let’s hope it lives up to the hype. Ian Easton

“Our aim is to bring a higher level of act that isn’t currently available in the area”. Dave Rowett

Jive at Mo’Live

Last night saw the 30th Brit Awards show take place. The amount of glamour and surprise was still as epic as ever.

The biggest winner of the night was Lady GaGa, as she won three awards including best international album and international female. As expected, she dressed in a jaw-dropping outfit, though her perfor-mance was a surprising piano ballad of ‘Telephone’. Lily Allen also did it for the girls, winning Best British female, her first ever Brit Award.

JLS where the only band to pick up two awards. These were for Best single and Best British Breakthrough. Best British Group was awarded to Kasabian, who also created a fiery performance.

Due to it being the 30th show, there were

two special awards to celebrate. Spice Girls picked up Most Memo-rable Brits Performance. Oasis were given Best Album of The Last 30 years for ‘What’s The Story Morning Glory’. This was picked up by a very flippant Liam Gal-lagher who threw his award into the crowd.

Dizzee Rascal and Jay Z represented the men last night, both winning Best Solo Male for Britain and America. Dizzee Ras-cal’s performance with Florence and The Machine was a definite highlight.

Florence won the most prestigious award of the night, Best British Album. The other

prominent award, Outstanding Contribu-tion to Music went to Robbie Williams. He sung a medley of his greatest hits, ending the night with Angels.

Claire Rollins www.brits.co.uk

Brits Go GaGaLady GaGa sweeps awards as 30th show goes with a bang

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Solent Music Industries Live Event 2010 boasts some of the biggest talent in music. The event will take

place in Southampton Solent University on 5th March 2010. SMILE this year will feature lectures and talks with artists and figures such as Rob Da Bank (Radio 1), Foreign Beggars, Lauren Pritchard, Mark Hobrough, Tony Thorpe, Nick Halkes, Steve Ager, and Jim Prime with masterclasses and performances from Rodney Branigan and local hero The Widowmaker. Last year the showcase boasted some impressive quality on display with figures at the heart and soul of the industry. Without them being around we wouldn’t have Pete Doherty in any sort of coherence, The Vengaboys would never have come to England and the internet would have most certainly destroyed the music industry as we know it. This year’s guests are brimming with information for musical and business opportunities for the students of Southampton Solent. Nick Halkes has worked with many bands and management as well as currently working with Incentive Records & Management, founded XL Records and is ex-Director of Positivia. Foreign Beggars are an award winning hip hop crew who have recently been on tour

with The Prodigy, have been presenting BBC Asian Network’s Grime show since 2006 and are releasing a new album in the near future called United Colours of Beggattron.

There’s alot to look forward to for all ages and occupations as this highly anticipated event draws closer. It’s highly recommended to attend to hear some extraordinary stories from some of the most extraordinary people.

Smile for 2010!

Rob Da Bank, Radio 1 DJ and creator of Bestival

Get your pearly whites out for this year’s greatest industry showcase

Foreign Beggars

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The time when the CD was a common consumer item seems far away. From 2003, CD sales have fallen

41%, leading to restructuring plans in the whole sector. For many music professionals piracy is a leading issue, as Chris Anderton, a lecturer in Popular Music at Southampton Solent University, explains, ‘‘The record companies are currently trying to entrench their position by lobbying governments for extended copyrights, greater protection of their intellectual property etc …’’ This is a key issue in France, which has the biggest number of consumers of illegal music and where the law ‘hadopi’ is actually discussed within the national assembly. The principle: to condemn the Internet users who download illegally, by suspending their Internet connection. A law which seems inefficient for Chris Anderton: “The internet cannot be effectively regulated by individual nation states in this manner. Some downloader may be inconvenienced for a while should the authorities ever attempt to carry out a suspension. However, this won’t affect the illegal and global distribution of music in any meaningful way.” Across the channel, the debate is similar. Since the beginning of September, English artists within the FAC (Featured Artists Coalition), as Blur or Radiohead, have strongly denounced the criminalisation of illegal downloading. Independent labels and the big majors have different ways of dealing with these changes. For the latter, partnerships with some digital radio stations like Deezer have been multiplied. Recently the band Muse exclusively put their new album ‘Resistance’ on the Deezer’s website,

a few days before the official release. ‘‘Record companies are changing into marketing companies. The physical costs of producing albums are shrinking, and so is the revenue from sales of recordings. Record companies are now looking to earn money from music in other ways - live performance, licencing to other media etc,’’ explains Toni Diaz, lecturer in Music Technology at Solent University, in Southampton. But the situation has hit independent labels the hardest. ‘‘It became clearly a threat to independent labels in as much as these companies are even more reliant on cash-flow than the majors, and the sales volumes that they attract are considerably smaller,’’ develops Chris Anderton. ‘‘A certain amount of illegal downloading could be beneficial in spreading the message about a new artist, but if this surrogate version of ‘word-of-mouth’ doesn’t translate into legal sales, then the promotional value of the activity is worthless”. But the independent labels’ position on piracy is not categorical. For them, the only important question is: how to sensitize the consumer? The main problem is that the role of the record company has became less important. Madonna’s decision to leave Warner Music or Radiohead’s idea to put its album on Internet convey the impression that artists can exist outside record companies or at least besides the traditional ways of promoting music. ‘‘The record company is not condemned to disappear but will have to change it’s focus,’’ argues Toni Diaz. Music consumers are still here but their behaviours have changed and

selling acts require more thought. Between technological innovation and new economic ways, it is now the moment for the record industry to be audacious. Cecilia Delporte

The site ‘Deezer’ created in August

2007 offers, free of charge and

legally, all kinds of music while at the same time, artists and rights owners receive a share of

advertising revenue.

In the offices of the independent V2 label is written in large letters: “Universal has killed me.’’ After ten years of existence, the label has just been bought by

Universal Music Group. The paradox is that people have never listened to so much music. Why is there this divorce between record companies and music? The main issue was summarized by the ex-chairman of Warner Music, Edgar Bronfman in the French newspaper Libération: ‘‘If the music industry is growing, the record industry is not.’’

Record Industry:Crisis or Revolution?

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Led Zeppelin, U2 and Sting all did it, with more recent acts like La Roux and Kasabian to follow. Moby even managed to sell every single track from his 1999 album Play to advertisers. Without doubt, music-licensing deals have

become a significant source of income in the music business, but a snag exists which is labelled ‘sell out’ - musicians who move away from their ideals for money.

However, it is important to question if music licensing still comes within the definition of ‘selling out’ nowadays. Tom Petty and Bruce Springsteen say ‘yes’, having refused all sorts of huge offers to license their music to adverts. Neil Young even wrote a song called ‘This Note´s For You’ that jeered at musicians who sold out. Charlie Fink, singer of Noah and the Whale, did adverts in the past and regrets having sold his song ‘5 Years Time’ for the American Saturn spot. “I don’t like being associated with those brands. My music doesn´t belong there, it is far too precious for me,” says Fink. He admits that his band were under a lot of pressure from their record label; twisting their arms and making them do things, effectively to bring their music to as many people as possible. Besides the huge revenue that a band gets paid Sergio Pizzorno from Kasabian sees another advantage of music licensing in getting a song played to a world-wide audience. “There are no f*****g TV stations anymore playing music, there are no radio stations playing decent music. What are you gonna do if you want your music to get world-wide?” he argues. However, Kasabian could not agree on selling their music to McDonalds. Therefore, it can be assumed that many bands only license their music to

products that they can identify with. For instance, Portland based band The Thermals’ just turned down a $50.000 deal for their song ‘It´s Trivia’ being used in a ‘Hummer’ commercial as they did not want to be linked to a “disgusting, offensive company”. In fact, the trio is not against doing commercials. “All the decisions that we make are personal decisions. It just always comes out case by case,” says singer Hutch Harris. Due to the drop in music sales, the trouble in getting air play for certain genres and the tempting financial aspect makes it a reasonable step for bands to license music. However, there remains

a negative connotation for many music enthusiasts. Charles Cave, singer of White Lies, attempts to illustrate: “I think to music lovers, music is similar to clothes. You don´t want to wear the same things as everyone else. Once a trend happens – with the contribution of an advert – there´s gonna be a selection of people who are gonna distance themselves so much from it that they are actually abusive towards it”. Therefore, fans who supported a band from the very beginning often notice the loss of a certain sense of

ownership which is accompanied by the impression of this artist selling out. As long as commercials are used as successful launch pads for upcoming releases and getting musicians new and bigger audiences, there will always be people who claim that those artists ‘sell out’. No one can take offence at this as some co-operations appear to be based on sheer greed for profit. As ‘The Stranglers´ hit ‘Golden Brown’, a song supporting drug abuse is used in an advert for the British supermarket ‘Waitrose’?

The easiesT Way To $ellouT Licensing music to products implies easy money for musicians. Yet, they have to put up with the reputation of selling out. Ines Punessen investigates if bands such as Kasabian are really guilty of it.

“From f*****g Radiohead to Oasis to the Beatles, they´ve all

been on adverts”.

Kasabian - sold out in more ways than one?

Sergio Pizzorno

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9Audio AddictSergio Pizzorno and Tom Meighan make good points, justifying themselves

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Do ‘music career’ courses really work? Is the craft of making money from music something that can be taught, and are there pitfalls? Ian Easton talks to Solent University-bred band Lé Martells to find out.If you take the long walk through the history of popular music, you will find it easy to cherry-pick one or two shining stars.

However, what tends to be overlooked on the cultural music and media landscape is the struggle bands/artists have had to go through in order for their music to become recognised to the world. The discipline they set is a prerequisite and the sacrifices they make are things that most people are unaware of. Now, some bands and artists are blessed with a little help from people in the industry. The number of music and music industry-based degrees on offer to the public is becoming astronomical, and to be quite frank, it has to be. In an age where anyone and everyone can play the guitar and get their music onto the worldwide web, it is ever more crucial for artists and bands alike to be able to stand tall in a room full of sheep. Enter Lé Martells, a four-piece guitar-based pop-rock band formed in 2006 at Southampton Solent University. Drummer Jon Cox is full of praise for what Solent University has done for the band, from free rehearsal space to proposing the band for Island Records 50th Anniversary Unsigned Act competition, Le Martells reached the final. ‘‘Island requested demos and we got into the top 10 from around 450.We were then asked to go and showcase our music in London. We absolutely nailed it

From Solent To The Stars?

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and we got a fair few compliments by their A&R staff. In the end we didn’t win but it was still great to go to London representing the university and playing one of our best performances to date’’. All four members of Lé Martells are currently completing their final year at Solent, studying the Popular Music Performance course there. This course aims to give bands the tools they need to make the grade on a professional level. Taught by established lecturers armed to the teeth with vast amounts of industry experience such as Patrick Ainsworth - a senior lecturer on Solent’s

Popular Music Performance course - the band intend to make that grade. ‘‘It’s not just about giving them help on the industry, it’s about taking apart classic songs, and thinking about why and how they were performed and recorded like that.' Ainsworth reveals. “We’ll ask why certain guitar sounds are good to use, or why is a song written in a particular way. There is a lot of theory as well as the advice on the industry,’’ reveals Ainsworth. The evidence is there that Solent University and others like it can offer important opportunities to bands and artists studying their courses. The knowledge and know-how provided by lecturers is invaluable, yet it is still down to bands like Lé Martells to make the grade on their own talent and determination, as is true for every other band or artist in history. Whether Lé Martells can progress from here and become pop-rock avatars is now down to them. Solent University can lead them to water ... well, you know the rest.

http://www.myspace.com/lemartells

From Solent To The Stars?“It’s not just about giving them help on the industry, it’s about taking apart classic songs, and thinking about why and how they were performed and recorded

like that.” Patrick Ainsworth

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RECORDS

Massive Attack - HeligolandWild Bunch/ Virgin

One of the most eagerly anticipated albums of 2010. Closing in behind that rabbit you’ve furiously spent your time following, this album is the theme tune to

that very pursuit. It’s a glowing pursuit of inner sanctum made modern by refined beats, voices and samples as confined dreams are let lose upon a studio, swirling around like demons before settling as ghosts, a digital imprint, stamped on the mind, body and soul of the listener. The album in general starts on a low but quickly picks up on track two, ‘Babel’. As it starts it is reminiscent of the early days of Richard James, where playing with electronic beats were like a baby rattling a toy indecisively but with rhythm. The vocals fit perfectly and keep the song upbeat and driven, as if she were speaking through a radio. The breakdown is subtle but mind-blowing as it builds up into such a Portishead-type audio barrage of sound. A sound that makes sense. ‘Girl I Love You’ is a dirty track, the grimy bass and screeching it opens with is drowned by the clear vocals over the top. What a sexy tune. ‘Psyche’ hits a quick beat and reminds of those long walks where everything seems rather amazing, or a beautiful bike ride, like dreaming of spinning. ‘Paradise Circus’ strokes the conscious into submission. A slow amazement shines bright, the sly temptress and the greatest mystery that we can all sleep with, secretly, without it ever being mentioned again.

‘Rush Minute’ is a calm follow on track from ‘Paradise Circus’. Its dark lyrics are symbolic of Massive Attack’s repertoire, a self sufficient shadow of tracks like ‘Karma Coma’ and ‘Butterfly Caught’. It’ll take you back to those days, chilled out, prepared, calm and collected. ‘Saturday Come Slow’ has a tribal feel, the drums are straight and the vocals are reminiscent of a shaman at a fire, however, the guitar doesn’t seem to follow that tribal feel neither does the bass. The song changes into a rather beautiful flourish during the chorus that creates a sense of bliss in the air. ‘Atlas Air’ ends this on an open chord, a sort of dance theme rings throughout the track as if you were on the most terrifying ghost train of your life. It’s a ghost ride with attitude though. However, it does begin to chill you out. It’s as if you don’t want to be on this ride but you succumb because there’s no other alternative, you can only go on. Heligoland is one heck of an album, and yet what did you expect? Full of feeling and pure energy that seeps into every nook and envelopes you into a sleepless trance, it takes you full circle to Neverland and back. Carl Gwynne

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Alix Perez - 1984

At only 25 Alix Perez is one the youngest and most respected artist on the Drum ‘n’ Bass scene today. He

is the mastermind behind tracks such as ‘The Resolution’, ‘Stray’ and ‘Crooklyn’ and it’s because of cool, calm, liquid lullabies like these that the 1984 album was awaited with such anticipation. A year and a half in the making 1984 is an experimental album that crosses over many of the sub-genres of liquid, breaks and DnB. It takes a certain type of producer to be able to maintain that sense of individuality and Perez clearly is that. Tracks feature collaborations with Foreign Beggars, Spectrasoul, System, Zero T, Sabre and more. You only need to read the track listing to know you’re about to experience something special. Opening title track ‘1984’ is a personal triumph for Perez as it was composed using no samples with the exception of the vocal. After two or three listens the tune becomes incredibly up-lifting, with lyrics urging you to ‘hold on’ and rolling kicks slowly build up to a radiant crescendo. The standout track of this album is ‘Forsaken’. With help from Spectrasoul, Perez has out-done himself with this truly tranquil track. A slightly muffled piano plays to a backdrop of crisp beats, while Peven Everett adorns the track with soulful

vocals that will undoubtedly tug at your heartstrings. The last time Perez hooked up with Lynx the land of bass was blessed with Allegiance now the guys have added truth to the mix and created magic on ‘No Grudge’. A mismatch of samples fill the track that somehow seamlessly gel together, summoning visions of technologically enriched concrete-jungle cities of the future. Gradually the beat thickens making the tune not only a pleasure to listen to but all the more enjoyable to dance to. ‘Hemline’ is just beautifully self indulgent at first. This track is so stunningly composed that it engulfs your entire awareness. The unusual percussion compliments the minimal melodies and vocals. Even Perez himself describes this as the album’s most ‘emotionally powerful’ track. A hip-hop element is added to the record in the form of ‘The Cut Deepens’. The track has a deep, industrial breakbeat feel and Foreign Beggars deliver a healthy dose of their straight talking spoken-word style rap. Nicola Elliott

The pop punk quintet return with their third album and it kicks off with as much energy as their previous record.

They prove they’ve still got what it takes as pumping electro beats and fast paced, witty lyrics resonate in each song. The line “smash it up” really depicts the album perfectly, as it shows no signs of slowing down throughout. With Gabe Saporta’s addictive voice it is hard to stop listening. It is almost impossible not to sing along with the simple and memorable lyrics. It is hard to listen to this album without the almighty urge to get up and dance forcing itself on you. With enough catchy choruses and drum beats to feed anyone’s partying side, this album is not for the boring. Highlights on the album include ‘Move Like You Gonna Die’, a song that starts with so much power. The song sounds almost Fall Out Boy esq, with harmonies and hooks to make you listen again and again. Their debut single from the album, ‘Good Girls Go Bad’, sounds as fresh and the rest. The follow up single ‘Hot Fuss’ is set to be a hit which conjures up more images of fun and dancing. This record has no hint of sadness, just excitement and strong opinions. The only time you get a chance to breath is at the very last track ‘The World Will Never Do’. Being the only down tempo song on the album, it seems like an apt ending. Turning some lyrics into ‘raps’ also, this really shows off a different side of the band. After listening to this album, it is almost certain that one of the songs will be stuck in your head. And that’s no bad thing.

Claire Rollins

C´mon, get up, take your surfboard and go to the beach! The first chords of The Drums´ debut single ‘Let´s Go Surfing’ convey exactly this message − but you better not forget

your sun glasses! It has a raw 60s Beach Boys pop feeling, with permanent clapping. It includes the most infectious whistling since Peter Bjorn and John`s Young Folks, which helps you to get through the songs dazzling happiness and uncover the meaning within. The foursome from New York bring hope for the ones who are desperate in love - an unrequited love unfortunately. The clapping and whistling are key themes throughout the ‘Summertime’ EP, attaching an old-school character to its sound. ‘Don´t Be A Jerk’, Johnny seems to be an optimistic summer tune at first glance. With just basic instrumentation, a gentle women´s choir and even an a cappella part, this track comes across as very innocent. In fact, it is about an unrequited love with a girl who has gained bad character traits over the course of time. It is written as a conversation between “Johnny” and “Jenny”, packaged in an optimistic and catchy sound. Singer Jonathan Pierce gives proof of his sarcastic humour by singing blatantly “You used to be so pretty, but now you´re full of horse s**t”. Besides Submarine which is a romantic yet propellant pop song, the ballad Down By The Water sets itself apart from

all the other songs. Pierce seems to put all of his emotions into his vocals, emphasizing the significance of his words. The male background vocals create an epic, even theatrical, atmosphere which contributes to this ‘hymn to love’. The track ‘Saddest Summer’ does not deliver what its title promises. It´s jolly, playful, though with its clapping it can get a bit annoying. Whether it works well to close such a song with the sound of fireworks is anyones guess. Still, with their updated take on 50s surf pop and rock The Drums have introduced a different sound to 2010 – nothing majorly new but one that has not been heard for a long time. This EP certainly provides the soundtrack and the thrill of anticipation for the warm season. Summer, hurry up! Ines Punessen

The DrumsSummertime EP

With this EP The Drums laid the foundations for their forthcoming album - released in June

Shogun Audio

Fueledbyramen

Cobra Starship - Hot Mess

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With the success of their fourth album Daisy, Brand New have come back to the UK for a one

night only event at London’s Wembley Arena. After sets from Thrice and Glassjaw that can only be described as ‘meh’ and after the confusion over whether or not Manchester Orchestra were supposed to be playing or not we were left with the wait you always face at a show of such calibre. Without saying a word, Brand New appear and lead in with the ominous ‘Welcome to Bangkok’ before seamlessly changing to ‘Sink’ from the latest album Daisy. This was an incredible start to the show and everyone was up for it from the word go. The set was the perfect mix from all four albums, a real crowd pleaser. The group vocals echoed around the arena as ‘Degausser’ picked up to full speed. It gave goose bumps to hear that many people sing a Brand New song. They had mostly played 1000 capacity venues in the UK in the past. The crowd participation was apparent throughout. Brand New have

always been one of those Marmite bands that you either love or hate. I have never met anyone who was impartial towards them. The section of songs from Deja Entendu was insane. From the opening riff of ‘Okay I Believe You, But My Tommy Gun Don’t’ to the end of ‘The Quiet Things

That No One Ever Knows’ the crowd was ridiculously energised. Every word

was shouted back at the band we all love. Jesse Lacey’s voice was just superb through the range of songs both old and new. I was eager to see how he would hold up in ‘Vices’ where, on the album, he screams like he has never before. He nailed it with amazing delivery. ‘Gasoline’ was so hard hitting, just awe inspiringly good. At this point in the show black and white visualisations started looping behind the band. Some were of owls and foxes, to fit in the Daisy’s artwork, others of bridges. They fitted perfectly, an excellent edition to the engrossingly good show. The set then slowed down with

likes of ‘Jesus and Sowing Season’, but then immediately juxtaposing them with two tracks from Your Favourite Weapon. ‘Jude Law And A Semester Abroad’ and ‘Seventy Times 7’ brought out the dormant pop-punk/emo fan in every person in the arena, screaming the likes of “I hope the next boy that you kiss / has something terribly contagious on his lips” and “I reserve my right to hate you”, reminiscent of times they had many years ago. Ending with ‘Play Crack The Sky’ was a wonderful surprise. It wrapped up the show perfectly. However, it would have been nice to hear the likes of ‘Mix Tape’ or ‘Soco Amaretto Lime’, this just fitted with the set list as a whole. Very well thought out. This is one of the finest performances I have ever seen Brand New deliver over the years. Made better by the size of the event, or maybe even the sound quality in the arena, which is second to none. Either way, they need to come back soon.

Paul Ward

Brand New @ Wembley Arena, 23/01/10

“They brought out the dormant pop-punk/emo fan

in every person in the arena”

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Band perform blistering set at one-off UK show

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On another windy, winter Wednesday Wax opens its doors to probably the biggest queue I’ve ever seen at Rhino.

Wax is getting bigger and bigger every week, dance fans are starting to turn up without even knowing who’s headlining, people are coming just for Wax. The news has spread that it’s always a banger. This paired with the fact that Nero is simply the man of the moment, it’s no wonder the queue snakes round Southampton’s streets.

As I squeeze myself into the packed venue, I notice that the area usually used as the backstage/VIP is open to create more space for the crowd, as I push my way through the hoards of ravers it becomes apparent, the density of the crowd remains constant. The venue is rammed.A rammed venue doesn’t always guarantee a good night but it’s a good place to start and luckily tonight is a good night. TTB was warming up the room for Nero. I’ve seen TTB a few times of late and tonight he came into his own. Dubstep is definitely the way forward for this DJ. When TTB plays DnB he usually sticks to the dance-floor comfort zone however when it comes to Dubstep this man effortlessly selects songs that

combine grimy subs and bouncing beats, creating a real ‘feel good’ vibe.By the time Nero plays out, Rhino is in a world of its own. Some people walking around making random small talk with strangers, some skanking hard men pointing their gun fingers to the main man, others are bubbling on the spot with their eyes closed.

The atmosphere of the night is amazing and truly intoxicating. It is one of those nights when the vibe overpowers the music. The kind of night your head fills with a euphoric rush without even looking at a pill. The beats roll on by and merge into a seamless blanket of music. It is hard to distinguish any particular tune tonight, the mix is so perfect the tracks gelled together, creating what sounds like one beautifully mixed hour long song.

Rocksteady end the night playing out to a still heaving club. Rocksteady’s set is banging and tunes like ‘Frogs On Acid’ really have the club going off. So much so that despite the fact it is meant to finish at three, the decks were spinning till half past. At 3am when the speakers fall silent screams of ‘one

more tune’ fill the room. For the first time tonight a tune could be heard in it’s entirety and what a tune it was. Von D’s ‘Show Me’ is a beautifully blissful way to end the night. Nicola Elliott

Mystery surrounded the opening of this new live music venue. Other

than the line-up and location, nobody knew how the night would work, how the stage would be set up, or what the sound quality would be like. This opening night will be used as a showcase for local talent with the best in rock, metal and punk bands from Southampton lining up to play on the new stage. Every band is superb helped by the packed out 400+ capacity venue’s sound quality. The venue itself almost has a DIY feel to it, the laminate flooring making it seem like

someone has set up a stage in a small school hall. Joint headliners Bury Tomorrow and Not Advised have never played together before but both kill it. Both of their performances however are overshadowed by Burn The Fleet. Their set was truly outstanding. Ownership of the night is handed over to them with their set-ender Handfuls Of Sand resonating around the new venue, while the whole crowd sings for them. An emotional moment for a band just beginning their career.

Paul Ward

Opening Night @ Mo’Live 22/01/10

Nero @ Rhino, 27/01/10

Henry Rollins @ London Southbank Centre, 7/01/10

Legendary hardcore idol Henry Rollins, singer of 80s punk band Black Flag,

performed 3 hours of spoken word at London Southbank centre as part of his 12 date ‘Frequent Flyer’ tour around the UK. The tour focuses on Rollin’s adventures around parts of the globe not many others would dare set foot and stories from travelling round various countries on his quest for knowledge and learning about the world we live in. He accounted about how overcome by boredom he

becomes and resorts to country hopping, armed with a mind and his camera, Rollins explores anywhere and everywhere that’s in arm’s reach from wherever he’s residing. He has the power and charisma to control the entire audience with a few words, quickly changing between funny anecdotes about misguided Thai tour guides and trying to decide how attractive he finds certain lady boys, to gut wrenching stories from his youth about cold blooded murder and the loss of someone close. It’s certainly

good to see that not even a few years, some time in the media limelight, and television success have not affected Rollins in the slightest and he is still the same insightful, clever, humble man that his fans adore him for. A sold out crowd was waiting for Rollins on his 4th date of the tour, and his captivating lecture-esque performance had the entire crowd laughing, thinking and crying – or all three at point or another.

Andrew Sheppard

First Hear

Drum ’n’ Bass/ Dub Drum “n” Bass/

Drum “n” Bass/Dubstep guru Nero in action.