AT THE BEGINNING OF LAST YEAR, A YOUNG SPANISH PRODUCER CAUGHT OUR ATTENTION HERE AT AGENT2. AFTER HEARING A DEEPLY HYPNOTIC TRACK CALLED ‘IN ANOTHER ROOM’, RELEASED ON BARCELONA-BASED HIVERN DISCS, WE INSTANTLY WANTED TO HEAR MORE. SO, WE DID AND WE WERE HOOKED. A YOUNG MAN BY THE NAME MIGUEL BARROS AKA PIONAL SOON BECAME ONE OF OUR FAVOURITE EMERGING ARTISTS.

We scraped around and managed to find a few of his old tracks online, but over the past 12 months new releases and remixes have been springing up left, right and centre. One track that stood out in particular was the epic ‘We have Been Waiting For You’, which cropped up in clubs and DJ mixes the world over.

Pional has worked closely with the likes of Jon Talabot and Gavin Russom and it looks like the world is starting to pay attention to his unique sound. And so they should. His latest release comes courtesy of German label ‘Permanent Vacation’ where he joined forces with Hunee, Slow Hands, Session Victim and several other great artists to produce the critically acclaimed ‘If This Is House I Want My Money Back 2’ compilation. It is virtually impossible to pigeonhole Pional’s style, so we won’t do him an injustice by trying.

We caught up with the man himself to find out more.

You have several releases under your belt now. How did you get started with producing your own tracks?

It all started two years ago when I met the people from Hivern Discs. Actually, I’ve been making music for 10 years now, but I never took it that seriously. It wasn’t professional, just a hobby.

Looking through your back catalogue, it’s extremely difficult to put a genre to the sound. How would you describe your music and where does it all come from?

I tend to like making clear sounds. I often make the music that influences me and the music that I listen to, but at the same time I like the fact that my music sounds different to everything else. I don’t usually think about the clubs when I make my music. I think that the perfect mixture is a blend between home and dance floor.

I could describe my music as ‘slow-house’? ‘Electronic/alternative/pop-house’? (Laughs)

I have many influences; I have no prejudices about it. Right now you can catch me listening to Katy B’s new album and yesterday I was listening to St. Vincent. So, my influences could be kind of…freaky?

Do you give any time to DJing or do you spend all of your time in the studio?

My first ever live show last month in Copehagen, so I guess you could say that I spend most of my time in the studio! I’m not a DJ. Most days, when I get home I’ll normally spend around six hours making music.

You mentioned the live show. How did it work and did it go down well with the crowd?

Yes, I had a great time. There were no problems and I was very comfortable technically with the equipment that I took. I had great feedback from people; they really liked it (or so I think).

Do you look to anyone for inspiration for your live show? Who do you enjoy to watch perform live?

No, I don’t look to anyone for inspiration when it comes to my live act. Honestly, the acts that I generally see just have a laptop, a midi controller and nothing else. I would prefer to see interesting shows.

Right now, I don’t know who I’d like to see. I guess, like many others, I’d like to see a James Holden live act.

Yourself and Jon Talabot seem to be flying the flag for Spanish electronic music at the moment. Why do you think your music is so well received abroad?

Yeah, it’s cool! I guess it is well received thanks to the internet and word of mouth. Hivern has managed to achieve something that very few Spanish labels have in the past; people are talking about them, and that’s very cool.

‘We Have Been Waiting For You’ took everyone by surprise and got a lot of people talking about Pional. What’s the story behind that track? 

Well, I made that track four months before I sent it to the Hivern boys. The track originally had a very poppy drum kit and it didn’t have a 4/4 bass, clips or anything like that. It was basically a pop tune that lasted 3 minutes. The lyrics are taken from the TV show ‘Lost’. In fact, the title is the last sentence spoken by John Locke.

Have you got any new releases in the pipeline? An album perhaps?

I just finished several remixes, so right now I want to focus on preparing new material. For 2012 I plan to work on the album; I’m looking forward to it!

We’re guessing that your diary is will be filling up pretty quickly as the word begins to spread about your music. Have you got any more shows planned?

(Laughs) The truth is, that I have several interesting shows coming up around Europe (TBA).

Will you be making an appearance in the UK?

Not that I know of, but hopefully soon.

And finally…If you could banish one song to hell for all eternity, what would it be?

Black Eyed Peas – The Time (Dirty Bit)

Interview Dan Howell

THE UK FESTIVAL SCENE MAY SEEM AN OVERLY CROWDED MARKET BUT APPLE CART, HELD IN EAST LONDON ON 7TH AUGUST, PROVED THAT THERE’S ALWAYS ROOM FOR ONE MORE. APPLE CART TOOK PLACE THE DAY AFTER THE MORE ESTABLISHED FIELD DAY, RUN BY THE SAME TEAM AND IN THE SAME PLACE BUT THE ATMOSPHERE COULDN’T HAVE BEEN MORE DIFFERENT. THE CROWDS OF YOUNG EAST LONDONERS WITH INTIMIDATINGLY FASHIONABLE HAIRCUTS WERE REPLACED BY FAMILIES WITH PUSHCHAIRS AND GROUPS OF FRIENDS WITH PICNICS. SOMEWHERE BETWEEN A VILLAGE FETE AND LATITUDE, THE DAY AIMED TO PLEASE BOTH ADULTS AND KIDS ALIKE WITH AN ALMOST OVERWHELMING AMOUNT OF ENTERTAINMENT ON OFFER.

As it happens, it turned out that adults and children aren’t so very different in their tastes. Considerably more grown-ups than infants were taking part in the traditional fair games although they were a little too energetic for me to be entirely comfortable with on a Sunday. Similarly, although children made up the primary audience of the prestigious Magic Circle run tent there were plenty of adults (myself included) hanging round self-consciously at the back in a desperate attempt not to be asked to take part.

A little less child friendly was the comedy tent; in a brilliant scene stealing moment an outraged toddler heckled Mark Steel for swearing too much. Boasting a stellar line-up that made it one of the most popular areas of the festival, the tent was consistently overcrowded throughout the day. I was already familiar with Marcus Brigstocke’s brand of brilliant satire but Doc Brown’s mix of rap culture and subjects such as David Attenborough was a hugely pleasant surprise. The chance to see Kevin Eldon in stand up mode had clearly got a lot of people excited and although the crowds moved in to try and get as many of the festival goers out of the rain as possible those of us stuck outside to get wet didn’t really mind at all. Jon Richardson, in typically self deprecating mode pointed out that you’d have to be really terrible to have people leave the tent and brave the pouring rain outside but he needn’t have worried; I suspect the tent would have been just as full during his set if it had been blazing sunshine.  As his career continues to gather momentum at a startling rate the chance to see him in such an intimate venue was not to be missed. The main comedy draw for most, however, was Tim Minchin who played the main stage having clearly gotten too big for the (perhaps too) tiny comedy tent. He played with all his usual charisma and wit, although the very mixed audience meant that his unique brand of musical comedy seemed to miss the mark with several punters.

Earlier on in the day the always flamboyant Patrick Wolf took to the same stage shrouded in a hooded cloak which he threw off to reveal one of his trademark iconic outfits; a stunning red three piece suit to match his vibrant hair and bags of stage presence. In a touchingly earnest moment he dedicated the song ‘Black is the Colour’ to his friend the late Amy Winehouse, whom he toured with back in 2007. Later on in the afternoon a summery set from the The Magic Numbers cheered the rain drenched crowds and fitted the atmosphere of the day perfectly, as did the gorgeous electronic pop of Saint Ettiene who closed the festival as darkness set in across the park and Monday morning became more of a reality. The folk stage, curated by scene stalwarts SWN, Communion and Fence was hidden away in a peaceful corner of the site, with sofas to recline in whilst enjoying the lush sounds of such artists as Peggy Sue, Cate Le Bon and Michele Stodart (of The Magic Numbers).

As if the offerings of music, magic, comedy and games weren’t enough there was also the chance to design your own book cover with Penguin, buy some canned feeling of unease over at Monster Supplies from the Ministry of Stories, take in some culture with the Art Car Boot Sale and enjoy a seemingly endless variety of food on offer from Venn Street Market that made me a little disappointed it wasn’t possible to try it all. The Cabaret tent provided actual tables and chairs in a very civilised move for a festival but it was popular enough to ensure it was difficult not to end up standing, especially for singer, pianist and all round entertainer Chilly Gonzales and DJ sets from the likes of Andrew Weatherall and Kevin Rowland.

It’s a testament to the success of the day that even the torrential downpouring of rain couldn’t dampen the enthusiasm of the festival goers; running to the trees for shelter with a group of strangers actually added a sort of odd charm. If anything, unpredictable shifts in weather couldn’t have been more appropriate for such a typically British festival as Apple Cart turned out to be, in the best possible way.

www.theapplecartfestival.com

Words Tamsin Worrad

TENS OF THOUSANDS OF FESTIVAL GOERS TURNED UP TO CLAPHAM COMMON ON SUNDAY 24TH JULY TO CELEBRATE PEACE, LOVE AND ICE-CREAM AT BEN & JERRY’S SUNDAE ON THE COMMON. 

A very family friendly festival in the style of an old summer fete, artists such as Maximo Park and Gary Numan battled to win the crowd’s attention against a mass of other attractions. On entering the park a farmer appeared herding several pantomime cows through the throngs of people and it set the tone for the day nicely.  Equally bizarre, but no less enjoyable, were the toe wrestling competitions, knock out competitions with giant foam bars, air guitar bands and mystic moo (telling fortunes from palms and empty ice cream tubs). On a serious side, the festival did much to raise the profile of such worthy causes as Fair Trade, ethical farming (including the new RSPCA ‘Think Pig’ campaign) and Oxfam, whose ‘Pants to Poverty’ group were running a bouncy bungee run (in their pants, of course). A large portion of the range of food stalls present offered organic and free-range food, with free samples being given out by ethical brand Devon Cereals as well as the chance to win prizes through their wheel of fortune.

Of course, for a festival put on by Ben & Jerry’s the main attraction was bound to be the free ice cream with over 150,000 scoops given away during the weekend in both Manchester and London. Each fair trade flavour was represented on it’s own stand, with queues proportional to demand. New flavour Coconutterley Fair proved extremely popular (and very delicious), as did perennial favourites Cookie Dough and Phish Food. Considering the crowds the speed at which ice cream was served was very impressive and nobody had to queue for long.

The petting zoo from Vauxhall City Farm proved almost as popular as the ice cream, with children and adults alike queuing up to meet Alpacas, Sheltand ponies and tiny newborn chicks. Also popular with all ages were the fairground rides with the queue for the famous Helter Skelter stretching far back into the park, although I preferred the beautiful old-fashioned carousel. All rides are free, although donations were been taken to help Vauxhall City Farm with it’s running costs.

Headliners of the day Maximo Park proved that they’re as popular as they were when they started with a large crowd gathering to watch them finish the day, but the highlight in my mind was Gary Numan (despite most younger festival goers being baffled until he got to ‘Are Friends Electric?’, famously sampled by the Sugababes in 2001). Earlier in the day saw Little Comets, Stephen Fretwell and The Duke & The King take the stage whilst festival goers fought to get the treasured spots in the shade of the burning sun (the first aid tent were forced to put up a ‘no suncream here’ sign early on in the day).

All in all, the festival was an enjoyable day and well worth the £17 ticket price if just for the ice cream and rides alone. The line-up was not the most spectacular of the summer, but it was an enjoyable and fun day out with something for a whole families to appreciate.

Words Tamsin Worrad

NOT YET AS WELL-KNOWN AS GLASTONBURY OR READING, BUT GETTING MORE POPULAR EVERY YEAR, THE FESTIVAL BEAUREGARD OFFERS A GREAT OPPORTUNITY TO ENJOY A UNIQUE FEAST OF LIVE ACTS AND ALSO TO VISIT THE ROMANTIC NORMANDY REGION, TASTE THE EXQUISITE FRENCH CUISINE AND HAVE A GLASS OR TWO OF CALVADOS (APPLE BRANDY).

3 days, 2 stages, 1 castle… Festival Beauregard is a pop & rock affair where a total of 33 groups, from established bands to up-and-coming artists, get together to celebrate music, entertain and have a wild time.

The festival is near Caen, a vibrant and dynamic city that attracts visitors worldwide for its Romanesque architecture, numerous parks and gardens and attractive surrounding areas. The quickest way to get to Caen is by train on the Eurostar London to Paris and then two hours on the bus to Caen, but a more enjoyable way of travelling can be by ferry, from Portsmouth to Caen in around 7 hours.

Now, the last time I was on a ferry for such a long time I was 14. I took a ferry from Barcelona to Mallorca and for 8 dreadful hours I felt dizzy and seasick and I had to stay laying down on a sofa… But, to my delight, this time it was a very pleasant journey where I had time to sleep in my cabin, sunbathe, have lunch and relax. And not a sign of seasickness, total bliss!

After arriving to Caen, I head to the festival Beauregard where the band Pop The Fish is playing electronic songs mixed with an acoustic guitar. The atmosphere is vibrant but relaxed (probably because it’s early in the evening…) and everyone seems to be having a good time. There are two main stages and a castle at the entrance which make the location ooze French chic and rock & roll glamour. The next act is by the Male Performer of the Year, Gaetan Roussel, a talented singer and songwriter whose intense songs made the audience go crazy.

The next day I take part in a “treasure hunt” to discover the little secrets of the main districts of Caen’s historic centre. Despite the terrible bombings the city suffered on the 6^th of June  1944, Caen has managed to preserve its magnificent architectural heritage and culture.

One of its main historic sites is the Caen Castle, built by William the Conqueror in the 11^th century. This castle is the main symbol of Caen and one of the largest medieval enclosures in Europe. It’s currently being restored to enhance the site and develop cultural and museographical activities.

Along the back of the castle, there is a sculpture park which features fantastic (and kind of disturbing) animals created by the Chinese artist Yong Ying.

Caen is also well-known for its two abbeys: the Men’s Abbey and the Ladies’ Abbey. The Men’s Abbey, built in 1063, houses Romanesque and Gothic features and, in the heart of the church, you can contemplate the tomb of its founder. The Ladies’ Abbey is another great example of Norman Romanesque architecture and also includes the abbey church dedicated to the trinity and monastery buildings.

The best way to explore Caen is by walking through its narrow streets and old districts lined with lively shops, bars and restaurants. Classicism and modernity are a constant mix in this city where history can be found at every corner: half-timbered houses, private mansions and courtyards etc.

During the night, the quay, Quai Vendeuvre, is the place to be if you would like to enjoy a late night in a nightclub or in their charming cafes and pubs.

To enjoy pure French romanticism I head to Cabourg, a picturesque resort full of Belle Epoque villas and Anglo Norman mansions that will make you feel like stepping back to the France of the 1920s.

The first stop is at the restaurant Le Baligan where I enjoy a succulent plate of grilled sea bass, accompanied by a glass of white wine and a delicious crème brulee for dessert.

The Grand Hotel is Cabourg’s most emblematic building and where the famous writer Marcell Proust found the inspiration to write his masterpiece ‘In remembrance of the things past’. Nowadays, many French movies and series are shot inside its sophisticated interiors and it’s a very popular hotel amongst actors, musicians and la crème de la crème of French society.

Cabourg’s golden period was at the end of the 19^th century when sea bathing became fashionable. Its 3 kms of fine sandy beaches, spectacular promenade, elegant villas made of limestone and brick, refurbished casino and stylish boulevards make Cabourg the most elegant and cosmopolitan place in the Normandy region.

Cabourg is also renowned for its Film Festival which, since 1983, has attracted the biggest names in European and international cinema. This year, for its 25^th anniversary, the festival celebrated love, passion and romance.

After Cabourg, I go back to Caen to have dinner at the restaurant El Olivo, where I try for the first time tartare de boeuf. My first impression when I see this enormous dish of raw beef with a raw egg in the middle is frightening but once I try it, I realise it definitely tastes much better than it looks. French food is truly delightful and it’s difficult to get a wrong dish wherever you go.

The second night at the festival brought on the charismatic duo, Aaron, formed in 2004 by actor Simon Buret and musician Olivier Coursier, who played electro pop ballads mixed with rock influences, followed by the legendary Texan group Zz Top. Their iconic long beards, Stetson hats and cowboy boots were seen for the first time in Normandy and didn’t disappoint. Their electrifying performance, powerful voices and unique image captivated the audience, who embraced the rock and roll spirit and didn’t stop dancing.

The French love wandering through markets so I follow the French way of life browsing the local market in Caen, where you can find fresh vegetables and fruits, local specialties, Calvados, the finest cheese… The best day to visit the market is on Sunday morning.

Golf is becoming a very popular sport in France so I decide to pay a visit to the latest golf club opened in Caen three months ago: The Golf Compact de Louvigny, which offers a new generation in golf practice thanks to its eco-friendly synthetic greens. I have only played golf twice in my life and I am not a golf –lover but the short course (a 6-hole course including both par 3 and par 4 holes, along with a 28-bay range) provided by this club is an excellent introduction to learn the basics or to improve your swing if you already are an experienced player.

The third day at the festival offered the dazzling performances of EELS, who played nostalgic yet provocative tunes from pop to jazz and blues, and The Kooks, whose catchy songs, roaring guitars and variety of styles (from reggae to soul, funky rhythms, rock and acoustic ballads) were a total success among the public.

After a hearty dinner at the restaurant Le Boeuf Ferre, where I enjoy a 5-course feast of crab, Calvados sorbet, rabbit, camembert and chocolate, I sail back to Portsmouth but it feels like a piece of my heart is still in Normandy. J’adore La France as the French would say. I’ll be back.

INFORMATION

• The Festival Beauregard is a 3-day musical event just outside Caen, in Herouville-Saint-Clair (from 1^st to 3^rd of July 2011). This year a 3-day pass cost 90 Euros.  For more information visit: www.festivalbeauregard.com

• You can travel from Portsmouth to Caen by ferry from £89pp return.  Please visit: www.brittanyferries.com

• To obtain more information about Normandy contact:

Normandy Tourist Board

00 33 (0)2 32 33 79 00

info@normandie-tourisme.fr

www.normandy-tourism.org 

RECOMMENDED RESTAURANTS AND ACCOMODATION

• Hotel Best Western La Mare o Poissons,   www.lamareopoissons.fr
• Restaurant Le Baligan in Cabourg,   www.lebaligan.fr
• Restaurant El Olivo in Caen
• Restaurant Le Triplex in Caen
• Restaurant Le Boeuf Ferre in Caen,   www.boeuferre.com

FOR THE FIRST TIME IN IT’S SEVEN YEAR HISTORY, BEN AND JERRY’S DOUBLE SCOOP  SUNDAE FESTIVAL WILL BE TAKING FAIRTRADE FUN TO THE NORTH AS WELL AS THE SOUTH.

Previously held exclusively in London’s Clapham Common, this year the action will be simultaneously taking place in Manchester’s Heaton park, with bands alternating their headlining days. Maximo Park, Gary Numan and Little Comets will be on stage in Manchester on Saturday July 23rd and London on Sunday 24th July with Ocean Colour Scene, Ash and Fun Lovin Criminals in Manchester on the 24th and London on the 23rd. As well as the more famous names, the ‘Be Herd!’ competition will be allowing two unsigned acts to play at the festival. As well as music, the Double Scoop Sundae will involve fairground rides, social activism, the ever popular petting farm and of course, the chance to sample all of Ben and Jerry’s Fairtrade flavours. The ice cream makers, originally founded by Ben Cohen and Jerry Greenfield in 1978, are currently in the process of converting all ingredients possible to their fairtrade equivalents, with the intention of eventually being fully Fairtrade across their whole range of flavours.

Tickets and more information are available at www.benjerry.co.uk/sundae.

Words Tamsin Worrad

FESTIVAL SEASON IS WELL AND TRULY ON ITS WAY AND USUALLY SENDS THE AGENT2 OFFICE INTO A SPIN AS WE ARRANGE OUR WARDROBE OF PERFECT FESTIVAL ATTIRE AND THE HOTTEST WELLIES WE CAN GET OUR HANDS ON.  THIS YEAR HOWEVER THE AMAZING PARKLIFE WEEKENDER ONCE AGAIN LANDS ON OUR DOORSTEP MEANING THE BIGGEST THING WE HAVE TO GET IN A TIZZ ABOUT IS BOOKING THE CAB TO TAKE US THE 5 MINUTES DOWN THE ROAD TO PLATT FIELDS TO GET OUR FILL OF SUMMER FESTIVAL FRIVOLITIES’.

This year’s amazing line-up was revealed earlier in the year and has this week added more to its already massive line-up as Saturday’s headliner Two Door Cinema Club and Everything Everything join 90+ artists across two days. Despite only being on sale for six weeks 65% of tickets have now been sold for the summer’s best value for money festival, at only £58.50 per weekend pass. Live theatre, art installations, workshops and all manner of fringe attractions also on offer on Saturday 11th and Sunday 12th June in Platt Fields Park, Manchester.

Northern Irish indie trio Two Door Cinema Club will headline The Parklife Weekender’s main stage on day one of the festival, Saturday 11th June 2011. Having bagged the Choice Music Prize in Ireland for their debut release ‘Tourist History’ and a nomination in the BBC Sounds of 2010 poll the band are on a meteoric rise to success. Next to join the main stage are the Manchester based alt rock outfit Everything Everything, with outlandish lyrics and genre defying tracks their album ‘Man Alive’ has wowed critics. Both acts join a line up of over 90 bands, DJs and performers who between them represent the biggest and best in electronic, independent and cross over sounds.

There is little time to lose for festivalgoers wishing to bag tickets for Manchester’s only event worth attending this summer as 65% of tickets have now been sold. For only £58.50 fans receive true value for money with two days full of premier talent. For the second time in its two year history The Parklife Weekender is way on its way to another sell out.

Image: Sebastian Matthes

As well as the mind-blowing array of music on offer The Parklife Weekender will also play host to attractions including live theatre, art installations and sporting competitions. The festival has confirmed an all new Treehouse arena, a Tetris Light Box installation, circus performers and will be laying on both The Parklife Olympics and The Parklife Talent Show amongst many more weird and wonderful attractions.

The Parklife Weekender takes place Saturday 11th and Sunday 12th June 2011 in Platt Fields Park, Manchester.

Parklife Weekender Tickets, priced at only £58.50 for a full weekend, are on sale now.

www.parklife.uk.com

Check out AGENT2′s great Parklife competition to win a pair of weekend tickets here.

IT’S BEEN HARD TO IGNORE ALL OF THE PRESS COVERAGE CURRENTLY BEING GIVEN TO RICHARD AYOADE’S DIRECTORIAL DEBUT SUBMARINE, WHICH IS TO OPEN IN CINEMAS THIS FRIDAY.

A comical “coming of age” story set in Wales, the film is adapted from Joe Dunthorne’s novel of the same name and has been causing a bit of a stir with those ‘in the know’ for quite some time.

Accompanying Ayoade’s vision on scoring duties is Arctic Monkey’s front-man Alex Turner who features six songs in the film, all of which have just been released as an EP. A stripped down, other worldly acoustic effort that sets the tone for the film perfectly, as an EP this sounds a complete and coherent work from start to finish. The songs whilst individuals, all clearly point towards a much larger work, obviously, not a great surprise when you remember why these songs exist. The sense of completion however does improve the listening experience considerably.

Forgetting for a second that they have been written for a film, as a collection of songs this is an impressive record. As someone who isn’t enormously enamoured with the Arctic Monkeys and had previously found Alex Turner’s song writing a bit charmless, I’ve been pleasantly surprised by this record. But, that said, for all of the accolades and sycophancy bestowed upon this man over the past few years, I’m not sure that these 6 songs have convinced me that I was completely wrong about him and that he actually is the greatest song writer of our generation.

There were moments on the first play-through when I found myself pausing a song for one reason or another and completely forgetting that I’d been listening to anything, which isn’t the behaviour of someone immersed in a work of genius. If anything on repeated listening it’s easy to find the tracks a little boring and I did constantly find myself looking for reasons to hit the pause button. Considering this it’s easy to say that the EP is a lot less than sum of it’s parts and whether the EP will retain any of its initial charm once the film leaves our cinema screens will remain to be seen.

The film isn’t out for a few days, and I was already pretty excited about it. Having now listened to part of the soundtrack and better understood how it will work and enhance the film, I am now going to spend the rest of my week trying to find things to do until Friday.

4/5

Words Luke McGee

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Buy the Submarine EP now by clicking here.

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BAND: WHAT WOULD JESUS DRIVE

ALBUM: BLACK AND BLUE

RELEASE: 28TH MARCH (DIGITAL), 30TH MAY (PHYSICAL)

CONSIDERING THAT PANCAKE DAY HAS ONLY RECENTLY PASSED, I THINK IT MIGHT BE NICE TO TALK ABOUT PANCAKES FOR A SECOND.

Now, as a meal there is nothing inherently wrong with pancakes at all. In fact, you could say that their pros easily outweigh their cons. They are easy to make, they comprise of simple ingredients that you almost always have and they take no effort to eat. You could easily slop one down when on a hangover with minimal vomit potential or make them a full on meal with lots of hearty toppings. They are sweet but equally delicious savoury and taste fine on their own without toppings and extra additions.

What Would Jesus Drive are similar like that. They taste absolutely fine on their own. But could they benefit from the addition of something else a little more interesting? Yes. Yes they could.

Black and Blue is not a horrible album and is actually fairly listenable but not at all memorable. It’s the kind of thing that you might find slung into the middle of an indie playlist in a shit hole club that you’ll never remember the next day. They follow the tried and tested formula of mildly accented vocalisations mixing it up with spoken word and shouty romps ala Art Brut and Los Campesinos! Only, they don’t have the lo-fi charm of Art Brut, or the musical chops of the ever expansive Los Campesinos! (Apparently the exclamation mark is essential, which I agree is very annoying).

Truthfully – and I say this with a heavy heart because their name is fantastic – there is really very little to WWJD. Just like pancakes. They bring nothing new or particularly original to the table and we have already heard it all before. Most likely in the band that you yourself formed aged 16 and why would you listen to that on a album when you could listen to something a lot better by…I don’t know… those funny indie failures that never did anything – The Oxfam Glamour Models. At least they, whilst being tragic and terrible had a genuine fire to them. WWJD just seem forced. Like The Wombats, and the only time that was ever acceptable was in 2007. Of course I might eat my words when they release their new album later this year but something tells me I won’t have to. Something tells me it will either sound nothing like their debut or be absolutely rubbish. WWJD just sounds like an angrier version of Wombats and that’s not great.

Still, I bet they’re banging live and fun to dance to, which is probably their real aim anyway. I hope. Now where did I leave my pancakes.

2/5

www.whatwouldjesusdrive.co

Words Jordan Waller

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THERE’S A VERY GOOD CHANCE THAT YOU’VE NEVER HEARD OF ÓLÖF ARNALDS. THIS IS BECAUSE AS A GENERIC WESTERN CONSUMER, YOU’RE SO PRE-OCCUPIED WITH FINDING THE NEXT BUCKET OF DRIVEL SERVED UP BY BRITAIN OR AMERICA, YOU’VE LITTLE TO NO INTEREST IN ANYTHING THAT MIGHT BE HAPPENING IN ICELAND. ESPECIALLY SINCE THEIR ENORMOUS CONTRIBUTION TO OUR ECONOMIC CRISIS, YOU PROBABLY DON’T THINK WE CAN TRUST THEM.

Well, luckily for your I’m here to point you in the direction of an artist so whimsical and exciting in equal measure that on her most recent album Bjork featured as nothing more than a backing singer and her only UK show currently scheduled for this year has already sold out.

So, the album is already out and her only UK gig you won’t be able to get tickets for, so why on earth am I telling you about this person?

Ólöf Arnalds is an artist achieving both critical acclaim and relative fame at an unusual stage in her career. Although she has toured with a number of other artists and has for some time been a member of the experimental band Mum, it’s only now at the age of 31 and as a solo artist that Ólöf is receiving the individual attention that she so clearly deserves.

Her 2010 album Innundir Skinni was written after giving birth to her first child, an experience Ólöf described as inspiring her to have a lot of beautiful ideas from being in a blissful state.

Next month she will release another single from last year’s album, and to promote it she has added another date to her European tour, one day after the sold out show at London’s Vortex Jazz Club.

You could do far worse than to check out the upcoming single ‘Surrender’ by watching the video beneath this post however, please be aware that it has some moderately graphic scenes and should a bit of human flesh be too much for you then you can listen to the single on SoundCloud by clicking here.

The single is a beautifully intimate folk lullaby that is stripped down to such a degree that you could easily believe the performance to be taking place in the room with you.

Bjork provides a haunting backing vocal that are understated enough not to overpower the song’s core, but adds an ethereal dusting to the extraordinarily personal performance from Ólöf.

She has already been tipped by The Guardian, NME, Mojo and Q magazine to cause a bit of a stir in 2011. Well, as much of a stir as someone seemingly so reclusive can muster.

You can book tickets for the London show by visiting this website and if you’ve decided to do that, you might as well buy a copy of Innundir Skinni, which is avaliable on iTunes.

Follow me on twitter @monkeyhotel

Words Luke McGee

HAVING JUST BEEN PLUCKED UP BY HMV AND NME AS THE NEXT BIG THING AND DESCRIBED AS A SOMBRE DEPECHE MODE BY STEVE LAMACQ, BRIGHTON- BASED BAND MIRRORS HAVE BARELY HAD TIME TO SIT BACK AND REFLECT ON A VERY BUSY MONTH.

Having already supported OMD, Fenech- Soler Hercules and Love Affair and the ever popular White Lies, this band can almost be described as living in electric dreams.

I spoke to the Mirrors about their influences.

There is obviously an 80′s sound running throughout your music. Who are your inspirations?

We are certainly influenced by many of those bands that flourished in the wave of creativity that was ushered in after punk; bands such as Joy Division/New Order, Cabaret Voltaire, The Human League, Depeche Mode, but, like many of those 80′s acts were then, we, in turn, take a lot of influence from the electronic music made by pioneering artists from even earlier, like Tangerine Dream, Kraftwerk, E.M.A.K

And though we are musicians, we find inspiration in many other places. For example, we literally build our music, and so architecture is a great influence. We try, through our live visuals, our image, and indeed everything we show of ourselves, to be creative, and to be more than just a band, so artists like Gilbert and George, who live their very lives as art, are a great inspiration. I could go on and on all day!

What was it like supporting OMD in Paris and how did it come about?

OMD contacted us and said that they liked our music, and kindly asked us if we would like to support them on their tour. The opportunity to play our music in front of thousands of electronic pop music fans was very welcome.

Do you think your overall look and visuals in your performance are as important as the music?

Everything that we present is of equal importance. The visuals are there to enhance the music, and vice versa. Likewise, our neat, smart image is great because it instantly sets up an expectation in people’s brains, which we then aim to fulfil. We wish everything to be special.

What can we expect next from Mirrors?

Our album is coming out on the 24 February and we are having an album launch at The Green Door in Brighton that day. We are already working on our next album, which, though in the early stages, is set to be rather different from this one. We are really excited to be writing, but also hope to play various festivals in the summer. We are also touring with fellow Brightonians Fujiya this February. We would like very much to see you all there.

www.myspace.com/mirrorsmirrorsmirrors

Words Jennifer Butler

IF EVER THERE WERE A SENTENCE LIKELY TO DISCOURAGE YOU FROM LISTENING TO AN ARTIST, IT MIGHT BE THIS; “HE BEGAN CAPTIVATING LISTENERS WITH MUSIC THAT HAS BEEN DESCRIBED AS A BLEND OF DAMIEN RICE AND BJORK”.

Oh dear. I mean, the Bjork bit is okay and I suppose Damien Rice isn’t exactly evil, but where on earth is the middle ground between the two?

Fortunately whenever I get a press release I scroll immediately to the bottom of the email looking for a link to the music before reading any of the text. It’s easier this way and probably avoids hours of reading about something I’ll ultimately hate or ignoring something very special indeed.

I’ve not been as immediately captivated by an artist as I have by Moddi in a very long time.

On paper Pål Moddi Knutsen’s debut album Floriography sounds the opposite of anything any normal human should want to listen too. Slow, evolving, ambient songs from a sentimental and contemplative songwriter who works alone and at night.

Songs that all sound more or less the same and under normal circumstances should begin to bore you, but instead draw you further into the intimate bubble, in which only exists your mind and Moddi’s voice.

The voice is a good place to start in praising Moddi. To describe his voice as androgynous would be quite an understatement. Working out whether he is male of female is only the start of your dissection of this rather peculiar voice. It may be something about the Norwegian accent, but Moddi’s voice sounds constantly as though it is being electronically modified.

The album does have stand out tracks, which I’ll address shortly, but it’s important to acknowledge that this is a proper album. When I say proper album, I mean that the songs are in an order where they pay compliment to each other, and by the end of record you feel as though you have listened to one cohesive work, rather than a selection of songs by one writer.

So often do artists fail to achieve this on a debut album, and produce what feels like a best of show-reel that is part of a desperate scheme to become famous. Floriography is instead an album with such a distinct voice that on first listen, it’s difficult to remember how many songs you’ve listened to or how much time has passed. In Floriogaphry, Moddi has created a sonic world in which his music is everything, his music is sovereign and you are an invited guest.

That’s not to say that the album is an easy listen. As I mentioned above, Moddi’s voice presents the ear with a problem, which remains a point of integral interest until the end of the record.

The musical arrangements provide just as much fascination; Unconventional recordings of acoustic instruments, seamlessly mixed with electronic sounds and creative uses of harmony combined with timbral ideas to create significant tensions and releases that reflect perfectly Moddi’s voice and lyrics.

If you like your pop music a little more challenging than Coldplay but as listenable as anything you’re likely to hear elsewhere, then please watch the video for the rather excellent single ‘Magpie Eggs’.

If you like the idea of Damien Rice collaborating with Bjork, then do yourself a favour and avoid this album.

Floriography isn’t out in the UK until April 18th, but you can listen to it now on Spotify, and you can find out everything you need to know by visiting the official Moddi website.

Words Luke McGee

Follow me on twitter @monkeyhotel

However, aside from their name and the fact that they have a song called ‘Vessels,’ there is actually little reflection of their nautical roots or other such folk preconceptions within their music. In fact, I imagine there is a better chance of Ellie Goulding releasing a sex video than there is of Tall Ships breaking out the banjo. Which can only ever be a good thing in my books.

Falling typically into the ‘math rock,’ genre (potentially the most ludicrously worded moniker after ‘space rap’) it would be easy to lump Tall Ships in the post-Foals posh rock club although you would be being unfairly dismissive. Currently riding the whispered hype of their second EP, they have spent the last year or so cutting their musical chops gigging with the likes of Tubelord, Minus the Bear and 65daysofstatic, extensive baptisms by fire that have seen the death of many a band before them. Thankfully though, Tall Ships have managed to escape barely singed with their heads held high aloft a steady foundation of new –and obsessively loyal- fans.

On record they could be compared to the more ambient side of North American indie like Death Cab circa ‘I will possess your heart,’ and The Maple State if they dropped the angst. It is in the live arena though that Tall Ships come into their own. With performances that include loop pedals, group vocals and multiple instrument changes, it’s obvious that they know their way around a tune better than most. In the flesh their songs are brought vividly alive and are complete lessons in musical tension and hook writing.

If you like your music big, self-indulgent and sprawling with an air of youthful self-consciousness this is for you. A much needed breath of fresh salty sea air.

You will enjoy this band if you like: Mimas, Modest Mouse, 65daysofstatic, The Maple State, Death Cab for Cutie.

Check out their music video for their song ‘Chemistry,’ below:

myspace.com/tallshipsfromfalmouth

Words Jordan Waller

THE TERM ‘IDM’ (INTELLIGENT DANCE MUSIC) IS ONE I HAVE ALWAYS FOUND RATHER CRINGE INDUCING. AT LEAST I DO UNTIL HEARING THE MUSIC IT’S BEING USED TO DESCRIBE, AT WHICH POINT A VEIL OF RAGE AND GLOOM DETACHES ME FROM THE REAL WORLD.

Isn’t it a preposterously pretentious term? Placing some dance music on an intellectual pedestal above other dance music, that is in all honesty probably equal in its vapidity? And what about a Strauss Waltz, or a Chopin Mazourka? Unintelligent, I presume.

Well, at the risk of sounding an enormous hypocrite, an album is soon to be released that I believe may deserve the descriptive tag “IDM”.

If you’ve heard of the experimental pianist Hauschka, then please, accept my congratulations. The rest of you, pay attention for the next 300 words or so.

The wonderfully creative composer is back with a new album, that will hopefully pick up precisely where his 2010 slice of wonderment ‘Foreign Landscapes’ left off.

‘Salon Des Amateurs’ will see Hauschka (aka Volker Bertelmann) returns to his celebrated prepared piano style, where he will present us with what will doubtless be a unique take on minimalist techno and house.

For those of you unfamiliar with the prepared piano (do you know nothing of the works of John Cage? Goodness me!), Bertelmann achieved fame for placing unusual objects; bottle tops, gaffa tape and even vibrators inside the body of his piano, which allows the instrument an emphasised set of percussive properties.

It is from these percussive sounds that Hauschka will presumably form the basis of his dance tracks.

‘Salon Des Amateurs’ will certainly be quite a departure both stylistically and aesthetically from any of Hauschka’s previous works, particularly the aforementioned ‘Foreign Landscapes”, which saw his distintive arrangements evolve from the piano and spread across an orchestra.

The album isn’t out until April 11, so in the meantime I suggest you make yourself familiar with some of Hauschka’s back catalogue, starting with his last album which can be listened to in full beneath this article.

For more information on Hauschka, click here.

Follow me on twitter @monkeyhotel

Words Luke McGee

Hauschka – Foreign Landscapes by Hauschkamusic

A LOT OF TIME HAS PASSED SINCE THE BREAK UP OF OASIS. AT THE TIME I THOUGHT “WELL, THAT’S A SHAME. I HOPE NOEL CARRIES ON RELEASING MUSIC”.

I just assumed that Liam would probably call it a day and spend more time on his fashion and socialite career. Noel Gallagher was the pulse that drove Oasis. Whilst Liam gave the band its swaggering, rebellious image that certainly aided the group’s success, it’s probably fair to say that any musical contribution made by the singer was detrimental to the band. Anyone who has heard an Oasis song penned by Liam should agree with this.

Nevertheless, I was delighted when I first heard that Liam was to continue releasing music with his new band Beady Eye, a band that consists of Liam and the former Oasis hired-guns Gem Archer and Andy Bell. I suppose you could look at Beady Eye as being Oasis sans Noel.

So what do Oasis without Noel sound like? Fairly average, unfortunately. ‘The Roller’ sounds like an Oasis song that would probably have been scrapped, or at best been a B side. The song opens with sustained chords and a vocal tune that are painfully similar, if not identical to the Beatles ‘All You Need Is Love’, which then continues throughout every verse. I assume this was deliberate, although I’m not sure that makes it any less cringe worthy. We get it Liam, you like John Lennon.

The lyrics are a tough lightweight, and although the chorus is quite catchy, the verses are practically un-listenable.

Although ‘The Roller’ will be Beady Eye’s debut single, it’s the third song we’ve heard from the band’s forthcoming debut album Different Gear, Still Speeding, which will be released on February 28th. Sadly, the two songs we’ve already been treated to tell a similar story, and haven’t filled me with a great deal of excitement for the album.

I think it’s fair to say that towards the end Oasis had long since peaked, and the split felt inevitable. Noel had been performing on his own for a while and at the time it seemed obvious to all the he, and the rest of the band were ready to move on. This is why the former members of Oasis forming a band like Beady Eye strikes me as being slightly short sighted.

To my ears Beady Eye don’t sound like the remnants of a groundbreaking band moving onto pastures new. Rather, they sound like a new band who were heavily influenced by Oasis.

Yes, they are perfectly passable as a standard, British guitar band and I’ve certainly heard worse music, I’m sure we all have. However, when you consider the heights that these musicians used to scale, one can’t help but feel that they would have been better advised to take a dignified final bow, rather than desperately hang onto what might be a lengthily descent into the pits of mediocrity.

If you would like to learn more about Beady Eye then you can visit their website by clicking here, and you can listen to ‘The Roller’ beneath this post.

Words Luke McGee

Follow me on twitter @monkeyhotel

I DARE SAY THAT NOT MANY OF YOU WILL REMEMBER WHO KIMBERLY WYATT IS, IF INDEED YOU EVER KNEW AT ALL.

That’s the problem with being part of a massive pop group, especially if you’re not the ‘famous’ one – it’s easy to dissapear into obscurity. We only need observe what has happened with the Girls Aloud splintered solo efforts to see that the tangibly ordinary Cheryl has commercially outshone the considerably less famous but far more talented Nadine Coyle.

In 2010 Kimberly Wyatt announced her departure from the frighteningly successful Pussy Cat Dolls, leaving her kicking her heels. Instead of fading away from our collective memories, Wyatt stands before us with her new musical project; Her Majesty and The Wolves.

The duo is completed by Jupiter Rising’s Spencer Nezey, who takes care of production and occasionally chips in with this urban warbling.

Stars In Your Eyes is, although a tad generic, smothered in personality and is certainly very current. The production is flawless, the beat is tight and the song is oozing with class and glamour. This really is high end pop, and the very much worth pointing your ears towards for 3 minutes.

From the outset the vocal melody is unpredictable and striking, whilst the backing music is relentlessly upbeat in the best possible sort of way. The song has dangerously catchy chorus, and if you can sit through it without wanting to get up from your seat and dance like a lunatic you should probably consider giving your pulse a quick check.

Sure, it’s a bit of electro-pop fun and not overly substantial, but it’s fairly apparent that this duo is more than a means to and end for Wyatt and Nezey. Music without character and personality is quickly exposed, and this single has two very distinct hallmarks stamped all over it, leaving the song feeling entirely authentic as a passion project.

If you like what you hear from the video below, then why not join us in cheering for the underdog? You can follow HMATW on FaceBook, and the single is avaliable for purchase on iTunes by clicking here.

Words Luke McGee

SHERIDAN SMITH SANG LIVE ALONGSIDE BLOOMFIELD AVENUE AND RICARDO ALONSO AT THE ROADHOUSE IN COVENT GARDEN.

The Roadhouse is a vibrant night club located in the heart of Covent Garden and is famous for its live bands, DJs and yummy cocktails. The Roadhouse is also the host to the World Flair Championship, a competition where the best bartenders show off their mixing and spinning bottles skills to win the top prize, 10,000 pounds.

Sheridan Smith, Bloomfield Avenue and Richard Alonso offered an electric performance that made everybody sing and dance all night long!

Sheridan Smith is a famous actress and singer, very well-known for her roles in the TV series Two pints of lager & a packet of crisps and Gavin and Stacey. She has also been playing the lead role in the musical version of “Legally Blonde” in London’s West End since 2009 and has started the workshop productions for a new musical adaptation of “Bridget Jones’ Diary” where she will be playing Bridget next year.

Bloomfield Avenue are a six piece band whose members are very well-known and admired in the music theatre world. They are currently performing in several London West End musicals, including the sensational “Jersey boys”.

Ricardo Alonso was discovered by a Disney producer which led to his singing and voicing on many Disney and DreamWorks animated features. He is currently performing at the musical “We Will Rock You” where he plays Galileo and has also played in “The Night of 1000 Voices” at the Royal Albert Hall.

The event was hosted and organised by Richard Austin Rees and Nicole Hatch.

The atmosphere was electrifying and all the guests were rocking and rolling on the dance floor!

Words Veronica Carpio Martin  Images Dan Harley

THERE WAS ONLY ONE PLACE TO SEE AND BE SEEN ON 20TH AUGUST THIS YEAR- THE FACE. MODELS, MAKE-UP ARTISTS, STYLISTS, FASHIONISTAS, DESIGNERS, PHOTOGRAPHERS, PUNKS, GOTHS, YOU NAME IT- ALL DESCENDED ON THE LEGENDARY CLUB NIGHT, INCLUDING AGENT2’s VERONICA CARPIO…

AGENT2's Veronica Carpio

Despite a brief hiatus, The Face club night returned with a bang, promising to ‘turn London back to its best with a night celebrating eccentricity, art, eclectic music, fashion and excess’. And it certainly delivered. The Green Carnation in Soho saw a night dedicated to freedom, beauty, art, eccentricity and extravaganza with renowned DJs Steve Strange and Princess Julia hitting the decks in a celebration of 80’s fashion and music. The aim? According to party boy, model and host Alejandro Gocast, “This night is all about expressing yourself, being free, releasing the artist in you, being whoever you want to be”.

The Green Carnation is a fitting backdrop for such hedonism. A stylish bar inspired by Oscar Wilde, with elegant décor, dim lighting and green and gold walls full of quotes from the writer- “I can resist anything except temptation”- the atmosphere is a cocktail of Bohemian passion and Victorian luxury with a laid-back ambiance.

Vaudeville’s darkest muse Mr Pustra was the star of the show, presenting his fabulous new show King Midas. Covered in gold, with bruised make-up, very long lashes and extreme red lips, he moved elegantly around the stage dripping wax onto his semi-naked body, transporting the viewers to a world of decadence and melancholy. There is no attempt at storytelling, simply a creation of beauty, an experiment, a fantasy, both visually stunning and hugely entertaining.

Mr. Pustra performs on stage

Mr Pustra started in 2006 creating shows inspired by the 1930s, Charlie Chaplin, cabaret and burlesque, making Vaudeville’s art fashionable again. “I want to create something that is visually beautiful. I don’t do shocking things as people don’t get shocked anymore”. He looks for unexpected ways to entertain the spectator: “I am on a continuous journey of learning, always trying different things, always challenging myself”. He gets his inspiration from films, music, paintings and then creates a unique performance. “I don’t follow anyone. I just do my own thing. The most important thing is to be passionate about what you do. You have to believe in yourself and then people will believe in you”.

And this is certainly something that partygoers have taken on board- with guests encouraged to ‘Bring along a face like no other’, we can’t wait for the next one…

thegreencarnation.co.uk

Words Veronica Carpio  Images Dan Harley

LAST WEEKEND SAW THE SAHARA DESERT DUSTY VICTORIA PARK IN EAST LONDON HOST THIS YEAR’S FIELD DAY. PEOPLE WERE OUT IN THEIR DENIM AND SUN HATS BRAVING BEING BURNT IN THE OPEN MEADOW. A HORIZON OF CHECKED SHIRTS MET YOU AS YOU WALKED IN AND OUT OF TENTS FOR SOME SHADE AND SOMEONE TO DRINK YOUR BEER WITHOUT GETTING A MOUTHFUL OF DUST AND STRAW. JENNY BUTLER OF AGENT2 MAGAZINE LOOKS AT A RUNDOWN OF THE BEST BANDS ON OFFER AND ALL THE DAY HAD TO OFFER.

When I got through the rather lengthy ticket queue just to get into another queue to get in the cider was really about to hit on. A plethora of fairground shenanigans were all around and I couldn’t help but be a little tempted by the coconut shys. From the corner of my eye I could see a number of crazy trendies having a go at a sack race. Of course this was no match for the skinny jean wearing boys, who were use to feeling restricted in their every day movements.

The first band that caught my eye was Amiina at the Village Mentality Tent. I could hear the familiar sound of violins, plus it was the first tent as you entered the festival. A chilled way to start the day, the use of a saw to create a haunting whistle was pleasing so early on in a hot day.

The early part of the day is generally spent spiralling in and out of tents trying to squeeze in as many acts as possible. As I went winding in to the Adventures in the Beetroot field tent to see Atlas Sounds, one of the bands I was desperate to see I could hear sound problems from the outset. Riddled with sound issues, the muffled vocals and crumpled instruments made this brilliant band sound terrible in comparison to their great album.

The main stage held host to a number of quality acts. Lightspeed Champion got the crowd dancing in the 4 o’clock heat. His raw energy and simple set up was perfect. By far the best band of the day was The Hypnotic Brass Ensemble. It was Jay-Z with trumpets, synchronised moves and rippled six packs. If you haven’t heard of them this Chicago based 9 -piece is something special. Mix in the occasional rap and you have a mixture of soulful hip hop.

As night time fell the stage was lit for Phoenix. Having seen this band back in the Camden Roundhouse six months ago I didn’t rate them and went to see them, as most people, because they were headlining. Although they have improved and some of their songs are catchy, they are nothing more than a band of the moment. They were a light bite after some of the days more complicated and more musically capable bands, but they were nothing special. But, for a brief moment as least, they got my feet dancing like a cat on a hot tin roof.

Words Jennifer Butler  Images Professor Nerdester

SINCE THEIR FORMATION OVER THREE YEARS AGO, THE TRAVELLING BAND HAVE TAKEN INFLUENCES FROM ACROSS THE BOARD TO CREATE THEIR OWN BLEND OF PSYCHADELIA, FOLK, BLUES, COUNTRY AND POP. INDEED A DIFFICULT BAND TO PIGEONHOLE, BUT WHAT’S THE FASCINATION WITH LABELLING EVERYTHING WE HEAR? THEIR MUSIC CAN BE INTERPRETED IN ANY NUMBER OF WAYS; A QUALITY WHICH MAKES THIS BAND SO INTERESTING AND PROBABLY THE REASON WHY THEY’VE CREATED SUCH A LOYAL FAN BASE NATIONWIDE. A CERTAIN HONESTY IS PRESENT IN THEIR WORK.

2010 is proving to be an exciting year for TTB. Having completed a string of U.K dates including Glastonbury for the third year on the trot, the seasoned travellers are giving fans another teaser of what to expect from their forthcoming second album, which is due for release later this year.

“The Horizon, Me and You” is the next installment from the album, following on from the success of the beautifully crafted track, “Sundial” which received a great deal of radio play and acclamation earlier in the year. The track is to be put out as a very limited edition 7” (500 to be precise) as part of the Too Pure Singles Club series. This appears to be a bold move by the band as all their work has been previously released on their own Sideways Saloon label, but a move that stays in touch with their organic roots nonetheless.

You can expect to hear a definite move into pop territory from this latest offering by the Manchester six-piece. With this track, simplicity appears to be key. Humbling lead vocals from Adam Gorman accompanied by simple riffs, keys and the occasional harmony lead up to one of the catchiest choruses of the Summer. Three minutes of unadulterated Americana bliss. Without doubt a feel good hit, I challenge anyone to disagree!

Each member of the band plays a key part in the song writing process, a factor that is evident on listening through the band’s repertoire. Although they have a distinct sound, there is a definite individuality to each track. This makes it all the more exciting to hear what the new will album have to offer.

Fingers crossed they’ll live up to expectations.

Single available Aug 16^th on 7” (pre-order online now) or join the Singles Club at www.toopure.com

thetravellingband.com

Words Dan Howell  Images Joanna Dudderidge

BORDER COMMUNITY HEAD HONCHO JAMES HOLDEN IS THE LATEST ARTIST TO GRACE THE DECKS AT !K7 WITH HIS OWN EAGERLY ANTICIPATED DJ KICKS MIX. WITH TRACKS FROM THE LIKES OF LEGOWELT, KIEREN HEBDEN (AKA FOURTET) AND MOGWAI, THIS IS AN ALTOGETHER ECLECTIC MIX JOINING THE DOTS BETWEEN EXPERIMENTAL ELECTRONICA, KRAUTROCK, AMBIENT AND TECHNO. THE MIX INCLUDES A BRAND NEW TRACK BY THE MAN HIMSELF AND IS ALREADY BEING DUBBED ONE OF THE MOST SIGNIFICANT MIX ALBUMS OF THE YEAR.

AGENT2 spoke to James to find out more:

Hi James. Thanks for taking time out of your busy schedule to talk to AGENT2. We’ve been really excited about the release of your DJ-Kicks mix. How would you describe the feel of the mix and what does it mean to you?

I find it quite hard to describe well…. but, I really feel the most happy with this out of all the mixes I’ve recorded. It turned out nice I think – the way it feels so coherent whilst also being made up of such disparate things. What it means, I guess is a suggestion for a sound – a way of looking at things where all this stuff belongs together. Pagan post-techno or something.

The DJ-Kicks series have become somewhat legendary. How did you choose which tracks to include and was there much deliberation?

A lot of deliberation, but mostly in the process of collecting a long list of ’maybes’. The actual choosing from that list and mixing was pretty easy. I think that what’s legendary about the series is the breadth it covers, so that just made me feel quite free and relaxed about just filling it with what I love.

Over the years, you’ve managed to create a sound both in your productions and mixes that is distinctly unique. Where does this sound derive from? Is it an expression of your personality?

Isn’t all music in some way that? I guess so though, I’m quite stubborn. But also I don’t think i would’ve had the strength to spend 10 years fighting to do something that doesn’t quite fit in without the support of everyone at Border Community – both the artists and the people behind the scenes. I think that’s probably the most important influence on where we’ve ended up.

The long awaited ‘Triangle Folds’ is your first production in four years. Can we expect to see more releases in the near future.

I wouldn’t say ‘near’… I’m touring so much for the CD that my synths are going to need a good dusting by the time I next get to play with them.

Your Summer schedule looks pretty crazy with the tour taking you all over the world. Does your music translate well abroad and is there a particular country that you look forward to playing in?

I’m not looking in my google calendar at the moment, out of fear, so I’ll take your word for it! I like quite a lot of different places, for different reasons. It changes, some countries have only taken to me in certain sections of my career, whereas some have always got what we were trying to do. Recently I’ve been quite enjoying my Italian trips and I’m really looking forward to going back to Japan, but really almost everywhere has some cool people who I enjoy playing to.

You’ve remixed the likes of Madonna, New Order and Depeche Mode to name but a few. Is there any artist or a particular track that you would love to get to work on and give the Holden treatment?

No, not at all – I’m so sick of remixing now! I’m taking a break from it…

Your label Border Community puts all it’s releases out on vinyl, a format that seems to face an uphill struggle in a world dominated by digital technology. Do you believe vinyl still plays an important role in the music world or are you an advocate for the digital movement?

I like everything digital brings, the democratisation (though the scene hasn’t quite evolved to deal with that yet), the environmental benefits, the wonderful things you can do DJing with a laptop, but at the same time i still buy a lot of vinyl and record it into the computer because it does sound better (or at least different – depends what you like). I’ll be sad if vinyl ever goes, the magic things a good cut does to the sound are completely unfakeable. I like when we can make a record a beautiful artifact. I think there are still plenty of people who want to own things like that.

Well thanks for your time James. Best of luck with the album – we love it! Have a great Summer.

www.jamesholden-djkicks.com

Words Dan Howell

STAG PARTIES, CHEAP BEER AND THE BOOM OF LOW-COST AIRLINES HAVE MADE POLAND A POPULAR HOLIDAY DESTINATION IN RECENT YEARS. BUT THERE IS ALSO ANOTHER REASON TO HEAD EAST THIS SUMMER: THE HEINEKEN OPEN’ER FESTIVAL 2010.

For those who slosh through the mud at Glastonbury every year, party at V Festival and buy a three-day pass for Leeds, this is another music event to add to your list. One of the largest rock, pop and dance festivals in Europe, it has also been awarded the title of the best. Earlier this year, it beat the likes of Glastonbury by winning the award for 2009 Best Major Festival at the European Festival Awards.

One of Europe’s biggest, and most important, music events of the summer, this four day July festival in Gdynia, North Poland is an excellent alternative to the best of our British festivals. Situated by the sea, it exudes the chilled ambiance of our welly-wearing weekends whilst being a whole lot cheaper than a ticket to Reading. To top that, the eclectic mix of huge names and some of the world’s biggest artists gives it a feel for a British line-up.

Taking to the stage from 1 to the 4 July, the line-up reads like a ‘who’s who’ of modern chart toppers with this year’s acts including Kasabian, Gorillaz Sound System, Nas and The Klaxons. Classic performers also grace one of the seven stages at the Heineken Open’er and this year you can sing along with Pearl Jam and Grace Jones and rock with The Hives.

Having been a permanent fixture of European festival calendars since its first show in Warsaw in 2002, the Heineken Open’er, now in Gdynia, has since become infamous amongst festival-goers, performers and the media the world over. With tented pitches such like our most beloved British festivals (though I’m sure with a lot less mud) and cheap-as-chip half-litre beers costing only £1.25, there really isn’t a reason not to give Heineken a go this summer.

Unless of course, you’re partial to the old mac in a sac once the British skies open, that is.

The Heineken Open’er Festival runs from 1 – 4 July 2010 in Gdynia, Poland. Ryanair, BA and Wizz Air all fly to the nearby town of Gdansk. For more information on the festival or to book tickets, visit www.opener.pl/en

Prices:

Adult three-day ticket £155 and individual days starting from £55.

Student three-day ticket £125 and individual days starting from £40.

Words Natasha Al-Atassi

A BIRD SINGING, THE RAIN FALLING ON LEAVES, THE WIND CARESSING BUSHES AND BRANCHES ARE SOUNDS AND MUSIC OF NATURE AND THE KNIFE WITH MT. SIMS AND PLANNINGTOROCK HAVE CHANNELED THESE MELODIES IN THE ELECTRONIC OPERA “TOMORROW, IN A YEAR”.

Through the centuries nature has inspired many poets, painters, writers and musicians, who have tried to express the beauty, strength and complexity of the world around them. But these guys have gone beyond.

The project was proposed by the Danish performance group Hotel Pro Forma who wanted to take on stage Darwin’s “On The Origin Of The Species” and his researches about nature and wildlife.

The Knife were the first to be contacted and they then decided to let Mt. Sims and Planningtorock take part in the realization of this innovative work.

The result is an electronic opera that combines artificial sounds and field recordings. Olof Dreijer (The Knife) went in fact to the Amazon and Iceland to find inspiration and to record real sounds from wild nature.

He says: “At first it was very difficult as we really didn’t know anything about opera. But after some studying, and just getting used to opera’s essence of pretentious and dramatic gestures, I found that there is a lot to learn and play with. In fact, our ignorance gave us a positive respectless approach to making opera. It took me about a year to become emotionally moved by an opera singer and now I really do. I really like the basic theatrical values of opera and the easy way it brings forward a narrative. We’ve approached this before in The Knife but never in such a clear way.”

15 tracks compose the melodic world of Tomorrow, In A Year: a wonderful, dreaming but dangerous world in which the mystery of unknown nature but also the surprise of discovering new animal and plant species are described.

An opera singer, a pop singer and an actor also enrich the performance, all this accompanied by light projections.

The show is a real travel in a new world seen through Darwin’s eyes and it changes as fast as life and nature do. During the first part single elements are introduced, then they gather and merge becoming a whole before changing again in something new and undiscovered.

Ralf Richardt Strøbech is the co-director with Kirsten Dehlholm. He explains, “Time forms our lives, gives our existence meaning and populates the globe. Generations, eons and millions of years create the new and eradicate existences. Nature selects, invites and dares everything without limitation.”

Everything changes. Today, tomorrow, in a year, forever. Things develop, mutate and so do we.

theknife.net

hotelproforma.dk

rabidrecords.com/tomorrowinayear

Words Luca Russo

WHEN WE TALK ABOUT INDIE MUSIC WE USUALLY THINK OF WEIRD TUFTS OF HAIR (WHY? AND HOW IS THIS GUY DIFFERENT? PROBABLY BEST TO DESCRIBE THE NORMAL BEATS, SOUNDS OF THE MUSIC WHICH THE NIRO DOESN’T COMPLY WITH).  BUT THERE’S ONE GUY WHO REPRESENTS INDIE MUSIC IN HIS OWN WAY. SHOWING A TENSION AND A STRENGTH, HIS TRACKS ARE WORKS OF ART DIFFICULT TO FIND IN THIS POPULAR AND POLLUTED GENRE.

Italian-born Davide Combusti grew up surrounded by music before starting up his own band, The Niro, from 2002. Currently considered one of the best young songwriters in Italy, he is beginning to establish a name for himself on British shores.

Son to a famous drummer from some important Italian rock bands during the 1970s (I Ribelli, I Centauri, La somma), he cultivated his interest for music playing the same instrument before taking his hand to the guitar and bass.

He took to the stage as a drummer, when he decided to write music and lyrics for his own band: The Niro. When they split up he kept the name and continued his solo career as songwriter. In 2008 his first EP, An Ordinary Man was released by Universal. Its five songs were also part of the 13 track album: The Niro.

He has played in New York, LA and Paris and last October, he performed a whistle stop tour around the UK with LiveZone and Track1. Having previously opened for the Zephyrs, Isobel Campbell and TKO and contributed to the Belle and Sebastian’s tribute album with his version of I fought in a War, his biggest British performance was his recent London gig last winter.

On 22 October 2009, The Gramaphone in Commercial Street filled with ‘Indie’ types, eager to listen to something new. Guys chatting on black leather sofas sat awaiting the new beats and sounds that will change the genre for the coming year, as drums and guitars are set up on stage.

The Niro – wearing jeans, black t-shirt and a bowler –  jumped on it.

He played songs from his debut with great precision and heart and his performance reflected his discrete and private manner, steering clear of shouting rock bands. Saying only a few polite ‘thanks’ during the set, he’s clearly one of those who prefer communicating through their music and avoid wasting too many words about it.

His style of singing seems to be influenced by Jeff Buckley’s high notes and falsetto reverberations, while his music offers a wide range of emotions: from happiness to melancholy, from rage to serenity. Classic arpeggios suddenly turn into aggressive progressions while tempo and rhythm changes often surprise the audience.

Bass guitar and drums are perfectly synchronized and form a complex carpet on which the artist is completely free to express himself. Years of lessons from his father have paid off and the consensus amongst the now-standing audience was clear: The Niro machine works amazingly well.

The performance quickly left behind something difficult to explain: an uneasiness or sadness that resonated through his lyrics and between each note.

Worlds away from the usual Europop dance tunes of Eiffel 65 that normally filters through from Italy’s music scene, The Niro’s songs are full of content and heart. So much so, that for the first time, the whole world is listening to The Niro to change Indie music to change for the better, and it’s safe to say, we’re eager for more.

www.myspace.com/theniro

Words Luca Russo

SOUTHAMPTON SIX-PIECE RAZOR BLADE KISSES ARE A BAND WITH A DIFFERENCE. YOU COULD EASILY MISTAKE THEM FOR ANOTHER SHOCK-ROCK BAND, ALL NOISE AND NO TROUSERS. BUT NEW ALBUM TWINKLE, TWINKLE LITTLE SCAR IS SURPRISINGLY GOOD; A MUSICAL JOURNEY TOLD THROUGH HAUNTING PERSIAN FAIRYTALES AND ETHEREAL MELODIES. WITH TWO VOCALISTS- LAYLA AND AZADEH- THE BAND IS COMPLETED BY ANDI (BASS), STEVE (DRUMS), JACQUI (GUITAR) AND PHIL (VIOLIN). WITH A LOOK AS QUIRKY AND UNUSUAL AS THEIR MUSIC, THEY TALK TO AGENT2 ABOUT THEIR NEW RECORD.

How did RBK come to form?

Layla: Andi and I formed the band in 1999. I used to play keys for his first band and he heard me singing in one of our rehearsals and decided to start a second band with me on vocals. That’s how it all started. This was before we were married so there is the rock n’ roll element too!

Azadeh: When I came here to study in 2001, RBK was consisted of Andy and Layla. Me and Layla used to take classical music lessons back home and we were always doing musical practices together since we were kids. She asked me if I wanted to join RBK as the second vocalist and since it was just an extension of our childhood dream I couldn’t turn it down.

Jacqui: I joined RBK at the beginning of 07, I think. They needed a guitarist with a metal influence, I liked their style so we decided to work together.

Which bands do you look to for inspiration?

Andi: I have a ton of inspirations for the music I write. I think the biggest ones are Linkin Park, Portishead, Massive Attack, Switchblade Symphony, Queen Adreena, Malice Mizer, the GazettE, Jack Off Jill, Placebo, Depeche Mode. I try to take the best parts of all of these, so the power and pop-structure from Linkin Park,, the soul and trip hop stylings from Portishead and Massive Attack, the haunting feeling from Switchblade Symphony, and the raw punky edge from Jack Off Jill. Even though there is massive crossover in some of these bands, what comes out the other side is initially quite incongruous, but by the time it gets the vocals and our own style stamped over it, it all comes together.

Layla: I’m mainly my own inspiration but people I am involved with at the time also are a big inspiration on lyrics I write or the way I sing. My music is from within my heart. As far as other bands go, I like listening to Muse, Placebo, Depeche Mode and lots of songs by other bands. So I guess as far as inspiration goes, if their music or lyrics touch my heart maybe subconsciously they get reflected on the song that I’m working on at the time or spark new ideas in my head.

Azadeh: Anathema and Malice Mizer.

Jacqui: Bands which love and who are dedicated to their work!

How easy is it for you to put a song together and how long does it take?

Andi: A simple concept can take minutes, but making it into something coherent can take forever. Sometimes the writing is the hard part, but sometimes it can be harder to “sell” an idea to others. “Teddy” was written in about 20 mins, but it took nearly a year to convince the band that it was worth doing, conversely, “Choke”- currently a live fave- took about a week from writing to playing fully as a band.

Layla: I mainly write the lyrics. Sometimes if I hear a song lyrics come to me instantly for it and sometimes it takes days or months and something gets triggered in my head when I hear the same song again and lyrics will be there.

Azadeh: I don’t write the music, me and Layla usually sort out between ourselves which bits to sing and it usually takes one or two sessions to master it.

Jacqui: It varies. Most of the time it’s pretty easy, we just jam things out and the songs develop from there. Other times I just work out guitar parts for ideas already written, and sometimes an idea is formed around riff ideas.

You’ve said that your lyrics are influenced by Persian fairytales- which ones do you reference on the album?

Layla: Many Persian fairytales are quite similar to brother Grimm’s ones. So where this album’s image is influenced by Little Red Riding Hood, we have similar ones in Persian where innocence gets abused in the path of growing up; In the Path of Pins and Needles, when a choice needs to be made. Only direct one I can mention is a nursery rhyme of ‘Aroosak-e-ghashang-e-man’ translating to ‘My pretty doll’. The translation of this forms part of the lyrics for Ballerina. My style is also very William Blake inspired. Simplistic nursery rhyme style lyrics but with deeper meanings. Very much like Songs of Innocence and Experience by William Blake. The other Persian influence is in Butterfly. The song is about Forough Farrokhzad, feminist poet who met with a suspicious death. The last poem she wrote was called ‘Parandeh Mordanist’ translating to ‘This Bird is going to Die’. The spoken words in this song sung by Azadeh are lines of this poem. The butterfly is her ghost. In Persian mythology Butterfly is the ghost of people who haven’t parted from this world yet, normally the ones who commit suicide or get killed. Similar to in Christianity, I suppose.

Azadeh: Ballerina is based on an old Persian nursery rhyme called My Pretty Doll. We used to sing it as kids. Ballerina is just a dark take of the same lyrics.

Your sound is difficult to classify. How would you describe it?

Layla: Many different influences, very mood driven. None of us like a set style of music and this changes depends on our moods. We are all very different people yet can bond musically hence the result is un-classifiable. Can only be a good thing. Something there for everyone. Music for the masses!

Azadeh: If Tim Burton had a band it would have sounded a bit like us I would think.

Jacqui: Umm… an enchanting mixture of Alice In Wonderland meets Marilyn Manson down a dark, Victorian alleyway in late 1900’s Whitechapel.

Do you have personal favourite songs from the album?

Layla: Mine are Ballerina, Butterfly and Deadly Yours.

Azadeh: Toy Soldier since it’s based on one of my favourite childhood fairy tales

Andi: “Teddy”, by a mile.

Jaqcui: Two actually, “Teddy” and “Butterfly”.

Your album is available to download from 26th Oct. Why did you decide to choose to go down that route instead of a commercial release with a record company?

Layla: The album was supposed to be released much earlier by the label, but delays in mixing, followed by a delay due to marketing and ultimately the economic situation hitting the label hard so that they would have had to delay the album due to a lack of funds led us to part company.

How much input did you have as a band in making the record?

Layla: The album was 100% us. Even when we were with the label they were very hands off on that front, which is one of the reasons we were happy to sign with them in the first place. Of course, if the band ever did sell out to a major label and got ruled over by their internal marketing departments, we’d simply take their money, walk the walk, then use the cash to fund a side project true to our creativity. But right here and now the band is 100% owned and ruled by us, everything you hear from us is us entirely, unmodified, not watered down. We do it cos it’s what we love, and even if RBK ended most of us would still continue with other similar projects. True music never dies.

Which do you prefer- recording or playing live? And why?

Layla: I love both, Recording is good cause you know it’s being put down somewhere where it’ll stay and it won’t be lost so you’re making a record of your art. Live is good, because I relate to most of my lyrics and singing is a way of releasing my emotions. However, sometimes where lyrics have brought up some things I like to forget back in my mind, I’d rather not be performing them. Catch a show soon you might catch a few sneaky tears running my make up down my face!

Azadeh: They are both good in their own ways. Live is good since you have the audience participation and it’s nice to see some feedback but you don’t always get a good sound and that could be frustrating. Recording is good in a way that everything is set up to get a perfect sound.

Jacqui: There isn’t one I prefer over the other. I love the recording and mixing process and hearing the songs come together. Playing live is definitely fun, it’s a different kinda performance vibe.

Are you planning to tour soon?

Layla: Hopefully, yes. Need to find a big enough suitcase for my dolls though first!

What has been the biggest highlight for RBK as a band so far?

Layla: Whitby shows. Always great audience and decent stage to play on. It makes us feel like real rock stars we are!

Azadeh: Playing in Whitby Gothic weekend three times, twice on the main stage.

Jacqui: Finally getting the RBK album done and dusted.

What would you be doing if you weren’t in RBK?

Layla: Things that I currently do, plus trying to form a band who sound like RBK. Maybe even in a dollhouse trying to lose weight so I fit.

Azadeh: I would concentrate more on my modelling.

Andi: I’d just be doing other musical projects, chances are they’d have something in common with RBK, tho I do have a big love of electronic and dance music, so possibly some mad, anime influenced, breakbeat, industrial dance project….with tentacles.

Jacqui: I’m very busy with my own music projects, writing with Martin Walkyier (frontman of Sabbat) for The Clan destined, session work and also writing my own instrumental albums. So I guess I’d be doing that.

How do you feel about comparisons to other female fronted rock acts like Jack Off Jill?

Layla: Its good. We don’t sound exactly like them but I can see why people see us similar. Troubled teenage angst, spooky dollhouse lyrics, play-on fairytales. Where is Tim Burton when we need him to form a band?!

Azadeh: it’s always a compliment to be compared to someone talented, but at the same time we are not copying anyone, therefore it’s nice to be recognized for our individuality.

Jacqui: People are always gonna make comparisons, it’s fine by me.

Image is obviously important for the band- was it a conscious decision to dress in that way or is it similar to your everyday style?

Layla: I love dolls, I love Victorians, I’m nostalgic. All of this inspire me to dress the way I dress. I do it in my everyday style too but not to the extreme cos i’m lazy sometimes. Lyrics and the music lend themselves very well to this image. A child’s nightmare. Don’t trust the dolls. Bizarre once quoted me saying ‘you can even get away with murder if you dress like a doll’. I’m innocent, honest!

Azadeh: As you say, image is a big part of RBK and that’s partially because as individuals we all are quite conscious of our image and we always try to create an impression through what we wear.

Andi: Bands are a package, especially in the MTV and internet age. Kids want posters in their rooms, they want people to idolize and get inspiration from. I find it difficult to get that inspiration from a bunch of people in jeans and t-shirts. You always hear that same old song though, the “They should concentrate on their music more than their image” idea. That’s bull. I’m a musician, my music will not get any better or worse just because I also spend time on my image. I don’t stop halfway through writing and go, “Oh that’ll do, I’ve not got time to finish it properly ‘cos I need to go get some new shoes”. That’s ridiculous. People who think that is the case for ANY band are stupid and should be killed, to death, in the face.

Jacqui: It was an unconscious decision! The way I dress on-stage is pretty similar to what I wear everyday.

Where do you get ideas for outfits? Do you ever get clothes specially made?

Azadeh: Films and paintings, I tend to get an idea from the past and mix it with something of myself and create something that is truly mine. Inspiration is good but I tend to stay away from copying as much as possible. Unfortunately I’m not good at making clothes from scratch but I’m qutie good at modifying things. You’ll be surprised by the amount of stuff that could be bought from high street shops and be transformed to something unique and original.

Layla: Read above. But new influences might come in future which might change the image slightly. I won’t reveal much yet! One of my other biggest hobbies apart from the band is clothing designer. I run a brand called Mort Couture. Azadeh has also got a big part in influencing what we wear. We normally decide on a design, etc, and I make them. In the past we used to buy them or get sponsored by clothing companies. But the album outfits are by me.

Andi: Visual Kei is a huge influence for me, Mana (Malice Mizer), Hizaki (Versailles) and Uruha (the GazettE) in equal doses. Layla makes a lot of my stuff too.

Jacqui: My image is something that I’ve been working on since I became a guitarist. I see things in clothes shops and if I like them, then I buy them. Layla and Azadeh are very good at making clothes, so they come up with all the ideas for their outfits.

Twinkle, Twinkle Little Scar is released on 26^th October, available from iTunes and all all major download sites.

RAZORBLADEKISSES.COM

Words Kay Weston

THE FASHIONISTAHASSPOKEN.BLOGSPOT.COM

Words Colin French

Paloma Faith has just released her debut album, Do You Want The Truth Or Something Beautiful, and the real truth is that it is without a doubt the most essential pop album to be released for quite some time. Think smoky-Winehouse-esque vocals coupled with huge cinematic backdrops and you would be half way there – Faith’s album is one to be digested and enjoyed over a number of listens. If you don’t believe me, I besiege you, discover it for yourself. It is a genre fest of sizeable proportion that will reward you ten-fold in these dark and worrisome times.

AGENT2 tracked Paloma down and managed to catch a word with the lady of the hour before her ship sails for the land of superstars.

Your new single New York is released next week; it’s a big sweeping giantess of a song – ballad and theatrical like in places. What is the song about?

It’s about how the city took my lovers heart. He fell in love with New York and chose it over me. He went to work there and decided to live there and end it with me!

The video for New York is extremely cinematic and well produced. How much input did you have into the creative process of it?

I am very lucky in the way that I have been incredibly involved in the creative process. We wanted to make the New York video more about my performance as an actress in a story as opposed to an overly visual one like Stone Cold Sober. Vaughan Arnell came up with the bowling lanes setting. I think he was inspired by the Big Lebowski.

What can AGENT2 readers expect from your album if they’ve yet to hear it?

I would like my album to transport the listeners to a fantasy world. I feel that everyone needs an escape from the world we live in today and I hope that my album has created something fresh and hopeful that they can escape to.

The album title, Do You Want The Truth Or Something Beautiful, is very evocative of the acting world: the idea of escapism and the ability to pretend. What does it mean to you?

It’s an introduction to me and what I do. I am proposing that I offer you something beautiful as I don’t believe the truth is ever really that important. The title is all about perception and I think it’s beautifully vulnerable.  In contemporary culture we spend alot of time trying to unveil the truth and I prefer to enjoy the fantasy and let it wash over me.

What, so far, have been the most enjoyable places to perform live?

Latitude festival…  It was the first time I had performed to a big audience who knew some of the lyrics of my songs.  I love people singing along! When you buy the album you get all the lyrics in the booklet, I hope people will read them!

Is your live show as flamboyant as the music on your album? We imagine plenty of costume changes and a sense of ‘event’ rather than just another gig.

I try to create a performance that will entertain visually as much as on an audio level. No two shows are the same although I might include homages to past shows.  I like to entertain and make an event out of a performance.  I come from a theatre background and that influences what I do.

You boast an impressive CV including working as an actress, singer, dancer and magician’s assistant. What’s the worst job that you’ve ever had?

I would have to say it was when I worked in a cafe on a Saturday, boiling chicken.

You have a part in the new Terry Gilliam film, The Imaginarium Of Doctor Parnassus, what was he like to work with?

Amazing! It’s been an ambition of mine to meet and work with him. I love his films and feel that he is one of our generations’ greatest talents. He’s very funny too.

Now you’re set to become a musical force, will you continue acting?

Definitely, although at present I’m focused on my music I hope that at the end of this year I can start doing some auditions…time dependent!!

What do find more personally rewarding, music or acting?

I love doing both and don’t think they’re exclusive.

During your hectic schedule of chart and world domination, you are unexpectedly given a whole day off. What would you do with yourself?

I LOVE THE CINEMA!  I would like to go to Gelato Mio for an Italian ice cream and then go to see a film in the cinema.

Paloma Faith Do You Want The Truth Or Something Beautiful is available now.

PALOMAFAITH.COM

Words Colin French Images Alice Hawkins

Bored with life? Slowly slipping into a jaded depression that has left your nerve endings redundant and reclusive? Drinking too much over-branded coffee just to keep yourself awake and semi-motivated throughout mind-numbing days of repetition? Find yourself discussing the soaps, celebrity marriages and making mental notes of accumulated Nectar points? Did you really buy that King’s Of Leon compact disc from a soulless and uniformed hyper-market? Make your lunch, pack it, eat it in an empty meeting room with the blinds down. They won’t see you cry in there. Check your Blackberry…Spam…Spam…new shopping deals available exclusively to YOU. New channels – please update your box – don’t miss this once in a lifetime opportunity. Feeling apathetic? Getting your five a day? Four a day is better than nothing. Calcium is an advantage. Realise and reclaim. Realise and reclaim the part of you that wants to live. Find the essence that gave you colour. At least you’ve got your health…. HEALTH – DIE SLOWLY.

Words Colin French

Full of delightful Scottish charm and a sound to enchant, Twin Atlantic ensured the gathered few at the Stoke Sugarmill will go away remembering exactly who they are.

After impressive support from Hardcore act Failsafe, who provided high energy action with impressive precision, it could almost be said that the main act had a lot to live up to. Yet within a minute of Twin Atlantic’s set it was clear that the band would meet such expectations, and then some. Rattling through hits including “Turning Into John Wayne” and the delightful “Lightspeed”, the foursome showcased their infectious tone and a professional attitude to rival most bands. Despite a poor turn out, frontman Sam McTrusty remained jovial throughout, even ribbing the crowd for their lack of enthusiasm.

“Old Grey Face” and the irresistibly intricate “Human After All” followed to a slightly more rousing reception, but undoubtedly the moment of the night was provided by “Caribbean War Syndrome”. With the addition of an electric cello, the foursome astounded with a rousing and enchanting melody and powerful climax, demonstrating almost every facet of their undeniable talent. With McTrusty’s charming Glaswegian accent dripping off every word and a guitar trio of precision and passion, it is safe to say that, should they return to the Sugarmill, they will have absolutely no trouble in drawing a crowd.

Reviewed at Stoke Sugarmill, 18/9/09

MYSPACE.COM/TWINATLANTIC

Words Dan Grose

Marina & the Diamonds AKA Marina Diamandis is undoubtedly one of the freshest and exciting talents to emerge within the last 6 months; her unique brand of indie-pop has been received with a deluge of critical flattering and a constantly growing fanbase. Here at AGENT2, her recent single I Am Not A Robot found its way onto the office stereo a while ago and has refused to leave ever since. Marina’s music is a quirk some mix of styles that border on the fringes of pop and her Kate Bush-ish vocal deliveries complement it perfectly.

Fresh from performing at this year’s Reading and Leeds festivals, Marina found the time to sit down with AGENT2 and discuss song writing and the upcoming NME Radar Tour shows, amongst other things.

Where did it all begin for you? When did music become a calling rather than a pleasure or pastime?

It was never really a pleasure or past time but more of a plan and a goal. The turning point was when I could move out of home at 18 and follow my own path, as opposed to the one my parents had hoped I would follow.

As a songwriter, do the lyrics come first or is music the foundation for what you create?

Oh lyrics first- every single time.

You seem to embrace many different influences and sounds within your music. I imagine the debut album will sound extremely eclectic and impossible to pigeon hole to one genre. Is this something that you’ve strived for or is it a natural trait within the music that has simply evolved?

You’re absolutely right actually. And no, it was never something I had strived for. People saw it more as a problem than an advantage in the beginning as they didn’t know how to market me. The main reason was down to the fact that I had no background or training or particular ‘love’ for music, therefore I just did whatever the hell I liked. I never thought before sitting down to write a song ‘this is going to be pop, with tribal elements’ or ‘I’m going to try and sound like ‘ xyz’ in this song. I always just build everything around the story within the lyrics. My song writing is very much like my personality- black and white and rather all over the place/ schizophrenic. So it now seems obvious that I could never have made any other type of album than this one.

You’ve now signed to a major label, are you worried about possible interference that other artists have complained about when working with a major?

No. I was with a major from the start and it was always my aim. I needed, and wanted the strength of a major to realise my objectives in music. Many people thought I had signed with Neon Gold Records but it was in fact Warner’s that I had signed with first; I then did my first 7″ single on Neon Gold.

Is there a preference for performing live or creating in a studio?

Performing live any day over studio. It depends on the producer, but I am very impatient and control-freakish in the studio.

You recently played the Reading and Leeds festivals, how was that for you? The general opinion is that those shows have won you a whole new legion of fans.

They were my favourite shows of the summer! I was so surprised at the reactions and felt genuinely moved, like something had changed…

Are you excited about the upcoming NME Radar Tour shows? What are your thoughts on the other acts that’ll be playing alongside you?

Well, I know Yes Giantess and think Local Natives music is beautiful. Golden Silvers are obviously a great, solid band and I’m really looking forward to giving the performance of a lifetime for fans who have never experienced a show before.

We are currently busy compiling our top 50 albums of the decade. What are some of yours?

The Distillers-Coral Fang, Royksopp-Junior and Metric-Fantasies.

Whilst enjoying a quiet walk one day, you happen to unearth the musical genie of the lamp. You are granted the wish of staging the ultimate gig with any three artists or bands of your choice – with you headlining, of course. Who would they be?

Metric, The Distillers and Joanna Newsom.

What can we expect from Marina & The Diamonds in 2010?

Love.

Catch Marina & the Diamonds on the NME Radar Tour throughout September and October.

MYSPACE/MARINAANDTHEDIAMONDS

Words Colin French

If you haven’t become part of Banana yet, then brace yourselves for penetration, because it’s about to take over Manchester.

Banana Management is the newest and hottest management label on the electronic music scene right now. Showcasing the hottest DJ’s Manchester and the North of England has to offer, Banana Management is set to explode with its diverse and innovative roster of artists. Brought together by their love of good music and passion for nightlife, Banana Management is a collective of unique minds that work like a well-oiled, sexy machine. Utilizing skills from all areas of the team including web and graphic design, entrepreneurial skills – heck – even the street team are ex-charity fundraisers.

The chemistry between the team is something they are visibly proud of. If they didn’t got on, there would be no Banana!  This is a unique band of brothers who know exactly what they want and how to get it. Banter makes the Banana go round, and there’s plenty of that. With DJ’s who have supported the likes of Justice, 2manyDjs, Zombie Nation, Riton, and even on the MixMag UK Tour next month, expect to be seeing a lot more of these folks… and not just in Manchester.

As well as the management label, its club night offspring, Banana, is currently focused on showcasing the talent in the form of all out parties and events that are swamping the Manchester Scene. Already collaborating with some of the biggest nights in England, Banana shows no signs of slowing down. With 6 parties in 8 days throughout Freshers Week, Banana is going to be dominating the electronic scene as it showcases both established and up-and-coming talent whilst also collaborating with some of the best nights in the city.

Roster from left to right - Sticky Bandits, Patchwork, Henry (Manager), Average White Guy, Joseph Goulcher

Now, with plenty of legendary parties at Saki already under their belt, Banana will be taking over several clubs and bars throughout the city in the coming weeks.  With an atmosphere like no other night around, the crowd is key to making these nights the storming success that they are. Whether its dubstep, dark techno or ridiculous electro beats that get dropped , they absolutely promise to keep you dancing all night (literally in some cases) and going home a sweaty, sexy mess.

With some absolutely huge guest DJ’s and artists lined up for the coming months, Banana is definitely about to become one of your regular 5-a-day. You can find them at bananamanagement.co.uk and all over Facebook. Keep an eye out for new events popping up over the next weeks and get yourselves down to the freshest, most innovative and down right delicious parties that we’ve seen for a very long time.

After releasing his first album ‘Awake’ independently, internet exposure and a healthy dose of self-promotion led to some A&R door-knocking that resulted in the astonishing ‘A Twist In My Story’. Released in 2008 with the support of a newly instated backing band that took selected tracks from the entirely solo ‘Awake’ to glorious new levels, Secondhand Serenade are ready to stake their claim to the world.

AGENT2 recently caught up with John Vesley on a fleeting visit to our hallowed shores and engaged him in a thoroughly enjoyable chat.

Hi John, how are you today? How important was Myspace and YouTube to your success?

Good, good thanks.

It was paramount, I would never have been able to get my music off of the ground without Myspace, would never have been signed, and could not have sustained any success without it; it was the first thing that was able to get my music to potential fans, thankfully they responded.

There are countless artists and bands swarming Myspace currently, how did it feel to be voted the #1 unsigned artist?

It was pretty weird at the time, everything was so very new to me then, so it was quite strange indeed.

Is it fair to say that in the current climate, major record labels no longer hold the power to make or break an act? It almost seems that for new and unsigned acts, the possibilities are endless.

Yes, that is true to an extent, major labels have the power to break acts; they do it all the time, just not with a very high percentage of success. There is more opportunity now for independent label to shine, my label for instance, Glassnote Music, is a perfect example of that.

Awake was very much a solo record but Twist in My Story saw the introduction of a backing-band, was that something you felt the music needed?

It was needed for me to grow; there is only so much you can get across with an acoustic guitar.

Is the live experienced enhanced by having a group behind you or does playing solo still hold something special for you?

Playing solo is still fantastic, but the full band show is just so much more fun for me and for the fans. In my full band shows I still do a handful of songs solo acoustic.

You work is particularly lyrically rich, do the words give birth to the music or are they something that you consider once the music is conceived?

Usually the words and melody come relatively at the same time, but sometimes one is first and sometimes the other.

You’ve been in the UK recently, how did you find our fair land?

I loved London! I really hope to be back there in October for a short tour of the UK.

Does a UK audience differ much from an American one? My feeling is that we tend to be more reserved in our admiration, would you agree?

I would say the opposite from my experience; two years ago I was in the same place in the states that I am now in the UK, and although the size of my shows were the same, the people that came to my UK show were much louder and knew every lyric to every song – it was fantastic!

The Emo tag seems to follow you around, I and many others are still not quite sure what Emo actually is. Can you finally clear that up for us?

I wish I knew, ha ha.

What music are you currently listening to? Are there any new and exciting artists that Agent2 and its readers should be looking out for?

I am currently listening to Muse a lot, Flight of the Concords, Jason Mraz, Landon Pigg and lots and lots of other good stuff.

Twist In My Story Out Now

MYSPACE.COM/SECONDHANDSERENADE

Words Colin French

It’s late on a balmy bank holiday night when AGENT2 receives a mysterious knock at the door, interrupting our usually serene and balanced world. A heavily hooded figure is illuminated as the door is cautiously opened, its feral-like eyes darting nervously as the light appears to offend its senses. A gloved hand reaches slowly towards us and deposits a gnarled USB stick into our trembling palm, the cool and jagged metal is freezing to touch. The figure disappears and we are left scared and confused, but unable to resist the lure of the grossly disfigured memory device. It’s only as we place it into the computer that we realise that there is writing crudely scratched down its length: Blonde Fire. This, we realise, is the new video from The Hickey Underworld. Our world will never be the same again. Neither will yours.

Hailing from Belgium, The Hickey Underworld is a band that firmly exist in a consciousness of extremes and clearly delight in the freedom such leanings allow. With a sound that owes as much to The Strokes as the acerbic crash of The Jesus Lizard and Minor Threat, The Hickey Underworld are set to unleash their debut album in October of this year. Blonde Fire is the first taste of what to expect, and if you haven’t yet heard the mutterings surrounding this track, you will most definitely be hearing plenty of the video that accompanies it.

Actually, why wait? AGENT2 are pleased to be able to deliver this beautifully twisted treat directly to you right now, our special treat. Ladies and Gentlemen………..Blonde Fire.

Words Colin French

Ladyhawke played an intimate performance this week at Village Underground at the Beck’s ‘Music Inspired Art’ campaign event. Only 400 lucky guests got to enjoy Beck’s, see Ladyhawke up close and personal, DJs Dom Chung and Mr Hijinx on the decks and live art being created. Attendees included Rick Edwards, Leah Weller, Tim Burgess

AGENT2 were lucky enough to attend and see Ladyhawke tear it up with some of her hottest tracks.

The strictly limited edition label art will be on all Beck’s bottles, with the new artwork also being extended to Beck’s & Beck’s Vier secondary packaging from September for a limited period only.

BECKS.COM

Despite being somewhat unenthusiastic when it comes to musical award ceremonies, the Mercury Music Prize appears to have a curious hold over me. Not only am I a jaded old cynic, I’m also universally dismissive of any award that is voted for by the industry and not the public. So, why is it that each year when the nominees for the Mercury are announced I sit up and take extra special notice? Perhaps it’s because I can clearly remember its inception and the excitement of Primal Scream scooping it with the seminal Screamadelica? Maybe it’s because during its 17 year tenure a clutch of great albums have actually triumphed against boring old U2 and Coldplay? It seems that until the AGENT2 music awards become a reality (sponsors feel free to contact us), the Mercury will always be the one award ceremony that I follow with a happy beat in my heart. This year is no exception; my mind is already working overtime in an attempt to unearth this year’s victor on behalf of the AGENT2 office.

Undoubtedly, everyone will have a preference for one or two of the nominees, leading to plenty of impassioned discussion. Florence + the Machine seem an obvious choice as winner: they fit directly into every criteria the judges usually look for – critical success, artistic merit and a penchant for weird and wacky themes. Lungs, Florence’s debut long-player, became one of the most anticipated albums of the year and was finally delivered with a bang at the beginning of July, peaking at a more than respectable number 2 in the charts. The bookies have made her favourite and I, for one, wouldn’t be at all shocked if she waltzed off with this year’s prize tucked firmly under one arm.

Bat For Lashes has had a phenomenal year with Two Suns, it has transcended her indie status and propelled her into the realms of the charts. Critically, her second album has been almost universally successful and is sure to feature heavily in the end of year polls. I wouldn’t back against her scooping the award this year, although, I have a sneaky feeling that the judges may overlook her in favour of a slightly more under-exposed artist. Similarly, La Roux has infiltrated pop compilations galore, which is remarkable considering that less than a year ago, almost no-one was aware of her. Her brand of 80’s inspired and synthesizer loaded pop has routinely won her praise with audiences across the country. As with Bat For Lashes, La Roux’s already solid status may just be her undoing in the race for the prize come September.

Love ‘em or loathe ‘em, Kasabian continue in their quest for world domination but may just be too well established to lift this mighty prize. Let’s not forget, every year the big hitters generally walk away from the Mercury with empty hands and a shrug. Radiohead were ignored last year, Coldplay saw their first three albums poo-pooed; (What’s The Story) Morning Glory delivered Oasis every other award bar this and U2 found Achtung Baby on the losing end to Primal Scream in 1992. This year, I fear, will be no different and Kasabian may only have an increase in record sales to look forward to. Glasvegas, although quite unappealing to me, have a staunch army of fans who will feel a definite injustice has been performed should they not win. Similarly, Friendly Fires have been this year’s most captivating band for many-a-folk; their brand of eclectic and inventive music has seen them critically lauded since its release last September.

Personally, I’d like to see The Horrors scoop the Mercury this year. It is almost inconceivable to think that after the pseudo-garage-nonsense of their debut Strange House, this band could make anything as exhilarating as Primary Colours. Not only have they reinvented themselves as a REAL band with astonishing songs, they have made a record that transcends genres and quite simply oozes ability and confidence throughout. It is a truly deserving piece of work that I hope, no, believe, will walk away with the Mercury come September the 8^th. Bearing that in mind, I’m off to the bookies to stake the AGENT2’s staff wages on The Horrors at a general price of 6/1 – they’ll thank me in the end.

MERCURYPRIZE.COM

Words Colin French