tag:blogger.com,1999:blog-38442112329623885692024-02-06T20:46:27.964-08:00NE:MMNE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.comBlogger115125tag:blogger.com,1999:blog-3844211232962388569.post-87960454230564658142014-04-17T06:51:00.001-07:002014-04-21T11:32:31.850-07:00H.E.A.T - Tearing Down The Walls<br />
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<span class="Apple-style-span" style="font-size: large;">The Swedish pop charts have been very kind to the rest of the world over the years. The most obvious band to mention here are Abba, shortly followed by Europe, The Hives and more recently Avicii. It’s safe to say the Swedes have a great track-record when it comes to catchy tunes. AOR revivalists H.E.A.T. have a lot to live up to but they definitely don’t disappoint.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><i>Swedish Idol</i> winner, </span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Erik Grönwall</span></span><span class="Apple-style-span" style="font-size: large;">, is the current front-man of H.E.A.T. He certainly earns his place by embodying other great front men in rock throughout the album. In most places </span><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Grönwall</span></span><span class="Apple-style-span" style="font-size: large;"> coan be compared to a young Jon Bon Jovi on tracks such as ‘Inferno’ and title track ‘Tearing Down The Walls’ which also has shades of Skid Row vocalist Sebastian Bach. Lead single ‘A Shot At Redemption’ sees </span><span class="Apple-style-span" style="border-collapse: collapse; font-family: Times, 'Times New Roman', serif; font-size: large;">Grönwall</span><span class="Apple-style-span" style="font-size: large;"> channelling the late Michael Hutchence (from INXS), in a very catchy crowd anthem which should be a favourite at festivals this summer.</span></div>
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<span class="Apple-style-span" style="font-size: large;">It’s easy to compare H.E.A.T. to fellow Swedes Europe in places. The soft-rock synths complement the guitar work nicely with Grondall’s powerful vocal. It is also fair to compare the five-piece to KISS, especially as </span><span class="Apple-style-span" style="border-collapse: collapse; font-family: Times, 'Times New Roman', serif; font-size: large;">Grönwall</span><span class="Apple-style-span" style="font-size: large;"> sang one of their songs on Swedish Idol, but also as there is a sense of the band and audience as one unit - much like the KISS army.</span></div>
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<span class="Apple-style-span" style="font-size: large;">I wouldn’t put it past Sweden to ask H.E.A.T. to represent them in Eurovison one year as the ‘token rock band’ of the competition. It is no insult to say they also have a pop-crossover appeal in many areas, much like their countrymen (and women), Abba. ‘Mannequin Show’ definitely echoes Abba’s ‘dark’ period and another side of H.E.A.T. we should see more of. Although the final tracks don’t have the same oomph as the preceding tracks, this is definitely a solid pop-rock album with roots in the 70s and 80s but still very current. H.E.A.T. definitely have a long career ahead of them on the rock scene and will be played on the digital ‘rock’ stations for years to come.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Neale McGeever</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">H.E.A.T are playing Newcastle O2 Academy 2 on Saturday 17<sup>th</sup> May 2014</span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Tickets for all four concerts are can be ordered from the official H.E.A.T website - <b><a href="http://www.heatsweden.com/" style="color: #1155cc;" target="_blank">http://www.heatsweden.com/</a></b> </span><span class="Apple-style-span" style="font-family: Calibri, sans-serif;"><u></u><u></u></span></span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-90557032047899595252014-04-14T03:20:00.000-07:002014-04-14T03:20:52.312-07:00EUROPE at Newcastle City Hall - 4th April 2014<br />
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<span class="Apple-style-span" style="font-size: large;">Due to budget cut's within the Council they've closed Newcastle City Pool – and that's a real shame – because as the line winds around the corner for tonight's performance I'm sorry for all those people who never got to experience the rich and vibrant history of the baths. City Hall in Newcastle is arguably the longest standing and most historic venue the city provides, with everyone – and I mean everyone – from Queen to Elton John to Motorhead having played on this stage. The diversification of it's performances mean that in about a month's time I expect to see Michael Bolton on the same stage, but we won't get into that right now!</span></div>
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<span class="Apple-style-span" style="font-size: large;">FM provides tonight’s support, a band with as rich and diverse a history as any other, but one who've been perhaps too ignored by mainstream media. I confess myself to having only listened to them once I heard about their inclusion on this bill and with songs like “Closer To Heaven” and “That Girl” you're unlikely to forget their name any-time soon. As someone who was brought up listening to White Lion, Winger and Warrant this is overblown hair metal sleaze guitar at it's best – and I love it!</span></div>
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<span class="Apple-style-span" style="font-size: large;">Europe have been on something of a reassurance since 2009. Following the phenomenal response to their album 'Last Look At Eden' their music has suddenly found itself more accessible and diverse than ever. The unenlightened will only know them as the band responsible for that “Final Countdown” song but everyone else can see that hits like “Carrie”, “Superstitious” and “Prisoners In Paradise” can only be written by a band like Europe.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Joey Tempest wanders out on stage looking like the cat who got the cream, with a very tight outfit that you're not sure gives him room to breathe, but which excites a number of older woman dedicated enough to force their way into the non existent orchestra pit. With photojournalists doing their job on one hand you've got this hilarious juxtaposition – never thought I'd use that word in a review – of two women holding out roses for Tempest in a declaration of affection.</span></div>
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<span class="Apple-style-span" style="font-size: large;">As the band have only an hour to perform – an old fashioned clock at stage right informs us neatly of that fact – there's little time to stand on ceremony. Songs like “Firebox” and “Not Supposed To Sing The Blues” start the evening with a nice exercise in guitar skill from John Norum and the proof that Europe can still write good songs in the 22<sup>nd</sup> Century, but it's classics like “Carrie” which get the greatest of responses. “Superstitious” provided an obligatory chance to sample Whitesnake's “Here I Go Again” which provided some excitement for those not expecting it, but the stand out moment has to go to the bands decision to play “Cherokee” - somewhat of a personal favourite of mine – which is the first performance of this track for a few tours.</span></div>
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<span class="Apple-style-span" style="font-size: large;">By the time the band had begun to wind down their set (one which, to be honest, flew by) it was obvious what was to come next. The encore of the night belonged to 'The Final Countdown'; there was an anticipated excitement like no other as keyboardist Mic Michaeli let loose for what is still possibly the greatest keyboard intro in rock and roll history. As the crowds diverged from the venue there was a wonder if the band needed to play that song at all. Europe's amazing performance proved the night had been anything BUT 'The Final Countdown'.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Wayne Madden</span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-85961062872154461402014-04-11T05:59:00.001-07:002014-04-11T05:59:04.382-07:00ALEXANDER MARKOVICH - Franz Xaver Scharwenka – Complete Piano Concertos<br />
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<span class="Apple-style-span" style="font-size: large;">This is one of those albums that has really ‘got’ to me. I took my time with it, since I know nothing of Scharwenka’s compositional output and wanted to understand it properly. Each time I listen to the album it is fresh: there are things which surprise me and make me want to play one of these pieces! </span></div>
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<span class="Apple-style-span" style="font-size: large;">Scharwenka was a Polish composer who had a flourishing performing career, most of which has been forgotten. He was also a composer, though his output was not large. This album of two CDs brings together his four piano concertos for the first time. </span></div>
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<span class="Apple-style-span" style="font-size: large;">One thing noticeable throughout this album is that you will find many parallels with the ‘great’ composers. The opening Piano Concerto No. 1 in B flat minor draws many comparisons to Liszt, to whom Scharwenka dedicated this piece. The orchestra breathes life into this work, providing competition for Markovich to wrestle the spotlight away, drawing focus back to the virtuosic elements infused throughout. The final movement is mysterious, with a beautiful clarinet solo nearly managing to outshine the final moments of the piano running rings around the orchestra! </span></div>
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<span class="Apple-style-span" style="font-size: large;">A more muted Piano Concerto No. 2 in C minor follows the brilliant opening. This one is not my favourite, but still has its merits. The Adagio is the highlight of this concerto. A beautiful opening by the strings, contemplative and serene<span style="font: 12.0px Times New Roman;">,</span> balance out the entry of the piano: all of a sudden it becomes less of a competition between orchestra and piano, instead having them briefly uniting to create some moments of beauty and colour. Some folk influences are heard in the final movement, with a small nod back to the first movement’s key. </span></div>
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<span class="Apple-style-span" style="font-size: large;">The third concerto: Piano Concerto No. 3 in C sharp minor, has strong resonances with Rachmaninov’s work. Opening with a brass fanfare, the piano becomes a force of nature barging in through the orchestra. Finishing this concerto is a dainty dance-like melody which keeps the orchestra on their toes, until the final bars which revisit and close with the opening movement’s themes. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Piano Concerto no.4 in F minor finishes this album, and this was perhaps Scharwenka’s most famous work. Rachmaninov and Tchikovsky seem to have influenced him in this piece. It drifts dreamily in between structure and no structure at all, which is refreshing and makes the listening experience a journey through ideas. The overall finale begins in the third movement; almost melancholy in its beginning – a sad farewell. The pace gradually quickens to a rollercoaster ending: a battle between the orchestra and the piano, with the piano triumphant at the end. </span></div>
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<span class="Apple-style-span" style="font-size: large;">This album is more of a celebration of a composer who has been forgotten, and it manages to do this extremely well. Alexander Markovich’s performance is truly virtuosic and breathes life into pieces of music which have not had the recognition that they deserve. Listen to this if you are a fan of any of the ‘great’ composers and see how many parallels you can find. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Emma Longmuir</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-87573678897097609222014-04-09T14:01:00.001-07:002014-04-09T14:01:11.713-07:00RADSTOCK at O2 Academy, Newcastle on 30th March 2014 (Day 2/2)<span class="Apple-style-span" style="font-size: large;"><br /></span>
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<span class="Apple-style-span" style="font-size: large;">As we arrive for Radstock action on Day Two it's a somewhat leisurely stroll through the centre of Newcastle. The venue is located perfectly adjacent to both Central Station and Eldon Square Bus Station so there is no excuse for fans to spend their Sunday anywhere else. But the venue is slightly devoid of life and the assembled crowd of ten or so fans present as doors open creates a somewhat inhospitable atmosphere.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Inside the venue, things aren't much better, as we're given the news that <b>Hacktivist </b>have cancelled their performance from someone at the merchandise stand. The band have informed fans of this via Twitter and it's due to a sick band mate. On the subject of merch, stands are rather dull and devoid, with even less merchandise on show than yesterday and the headline act offering extraordinarily little in the way of shirts because, as their official vendor tells me, they're on tour in May and haven't really produced anything new.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Due to a lack of communication from the promoters on the official Twitter and Facebook pages – in that virtually nothing has been said of any consequence – hearsay and rumour have allowed us to believe the event is being held, on the second day, in the larger of the two academy venues, providing a more adequate space to a band of Funeral for a Friend (tonight's headline) calibre. Unfortunately this has turned out to be just that (rumour) and all the action is, once again, taking part in the smaller upstairs arena.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Kicking things off tonight is <b>Cytota </b>who perform a credible set, showing they're a band of merit deserving to be taken seriously, but with sound problems and feedback plaguing their performance alongside a very dismal audience and little to no crowd interaction. The bands can't be blamed, naturally, but the lacklustre attendance – obviously more than satisfied with the performers the night before – have yet to arrive in their numbers, with the bulk of that audience appearing just as <b>Heights </b>ring out their opening chords. Their material could certainly liked to Biohazard and while post hardcore has never been my personal favourite sub genre I will give immense credit to any band who releases a song like 'Eleven Eyes'</span></div>
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<span class="Apple-style-span" style="font-size: large;">The night is getting progressively heavier as <b>Heart of a Coward </b>make an otherwise mediocre evening something to get seriously excited about. These guys are hot, on fire, and worth paying attention too – you can't go wrong with a group of men who look like bouncers come bailiffs and have opened for the likes of Raging Speedhorn. 'Deadweight' and 'Nauseam' both prove that if you're not a fan of this band then there might be something wrong with you. And I don't mind saying that!</span></div>
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<span class="Apple-style-span" style="font-size: large;"><b>Feed The Rhino </b>also produce an excellent set, a band I have been eager to see for a while and glad to have managed the appearance, with a number of audience members arriving late and the atmosphere really beginning to build for tonight's headlines. Of course as <b>Funeral for a Friend </b>take to the stage in order to close tonight's proceedings – and this festival – you'd be forgiven for thinking it was 2003, so dedicated are the band to playing hit after hit from their début album 'Casually Dressed and Deep In Conversation'</span></div>
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<span class="Apple-style-span" style="font-size: large;">It's proof, if proof were needed, that tonight is a bit of fun for FFAF and one for the fans and the casual listeners alike. That being said, it does have to be said that this weekend has been subject to delays, mis management, mistakes and a serious amount of problems tantamount to more than just “teething” problems. </span></div>
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<span class="Apple-style-span" style="font-size: large;">While I would welcome the event in Newcastle again, especially at the same time of year, I would expect a massive improvement in line with more acts, a better stage, a return to a one day event and some actual Radstock festival bannering!</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-2516704753377895822014-04-09T14:01:00.000-07:002014-04-09T14:01:01.504-07:00RADSTOCK at O2 Academy, Newcastle on 29th March 2014 (Day 1/2) <br />
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<span class="Apple-style-span" style="font-size: large;">When a promoter arranges an event he/she takes great personal risk, albeit financially or otherwise, to organise the best event he/she can for the paying client. When the inaugural Newcastle version of Radstock was first announced in the last quarter of 2013 it was billed as an event containing 30 bands over three stages embracing a wide and varied musical pallet from Kids In Glass Houses to Bleed From Within.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Acknowledging that for reasons “beyond their control” the event had to be massively reorganised into a two day event featuring just under half of the bands originally scheduled to play – and all on one stage – is actually forgiveable, but calling the event a festival just really can't be. Newcastle audiences are notoriously well known for “knowing what they like and liking what they know” so it's doubtful the promoters would be easily forgiven beyond a single event.</span></div>
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<span class="Apple-style-span" style="font-size: large;">You might feel this Journalist is nitpicking, finding fault where this none before any music has even been heard, but with the Academy 2 venue having a production complete capacity of just 400 it is nowhere near full. As we enter the venue we're not given any Radstock style wristbands/passes and there's no chance to purchase any Radstock Festival specific T Shirts. No banners proudly proclaim we're actually at Radstock Festival and there's not much room to have a wander in the cramped conditions around the merchandise stand.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Perhaps this is all something that was once considered for the event and later scrapped but in my experience it's the small things that make all the difference when it comes to audience satisfaction.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><b>Bentley Park </b>begin the day's proceedings with a short and vibrant set. These boys are from Manchester and their début EP is awaiting it's official release in April – the song <i>Darker Days </i>which begins the set is the sole track of representation on Spotify. I'd recommend you look it up and give it a listen because these guys are really good. During the set the group attempt to get a 'circle pit' moving which – probably due to the absence of security on the floor – is established quite quickly. That being said, the two young men left to throw themselves at each other inside the large pit just end up looking foolish, it appears that isn't the type of audience present.</span></div>
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<span class="Apple-style-span" style="font-size: large;">They're followed shortly thereafter by <b>Verses</b> from Brighton down by the sea – who spoke exclusively with NE:MM shortly after their performance – and have the spirit and enthusiasm needed to make sure they go far. Musically the sound suffers through poor acoustics but the group are having fun and making sure their future tour mates <b>Lost Alone </b>are given a superb welcome from the hungry crowd. Energy – and attendance – are rising at this point as the room becomes much like a well cooked sauna with steam rising from every area.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The energy and enthusiasm of the audience soon becomes clear, as <b>Fearless Vampire Killers</b> emerge on-stage. With vocals that sound like a cross between M Shadows and Mike Patton and musical influences ranging between Queen and the Manic Street Preachers, FVK are clearly the favourites among the assembled here tonight. Virtually every young lady within spitting distance of the stage is screaming at the top of their lungs alongside tracks such as <i>All Hallow's Evil </i>and <i>Palace In Flames</i>. It's hard to know for sure, but you'd be forgiven for thinking a lot of the same fans simply turn and walk out once they've finished their set.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Sandwiched between the two favourites – if the T Shirt's worn in attendance are any indication – <b>Canterbury</b> have a difficult job convincing people that they're melodic rock will win over the majority of fans awaiting the headlines. Their latest album <i>Dark Days </i>was released in January and reached No 84 on the UK album chart, an admirable feat for a young band but indication that almost all of today's performers are simply second stage material at best.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Finally we find <b>Yashin</b> proving their worth with a headline set exemplifying their talent. Opening for Black Veil Brides and Korn has gained them popularity, their set at Download has increased this and tonight they're in fine form among the faithful. Those who've stuck it out have witnessed an admirable 45 minute's from their headline band. Tomorrow we're going to see just how far things can go.</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-68049860647488929232014-04-08T16:26:00.001-07:002014-04-08T16:26:06.868-07:00TUMBLING BONES - Loving A Fool<br />
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<span class="Apple-style-span" style="font-size: large;">This is a self released album available from the bands website although individual tracks are available to download at Amazon for the usual price.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The band are a three piece who hail from Portland, Maine in North East USA and specialise in authentic bluegrass with excellent vocals and superb high energy instrumental pickin'. What sets them apart is that vocal prowess that shines out across the 13 tracks here. The album gets off to a sprightly start with 'Broken Things' which is, at its heart, another list song but they put such infectious punchy energy into it that you can't help but grin along inanely and the fiddle refrain gives it a massive lift and it leaves any Mumford & Sons comparisons trailing in the dust. This is quickly followed by an even more sprightly 'Bound to Ride' that is powered by some fine banjo pickin' and a hot fiddle that makes an impressive opening gambit. Things slow up for the title track 'Loving a Fool' a sad lament for a lost cause that's drenched in misery and tears with a suitably mournful vocal and heavenly backing vocals.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Across the forty minutes of music we have a range of distressed anxious characters who are bemoaning how life sometimes turns out but overall we are uplifted more than we are dashed. There's a raft of influences at play here from the great Hank Williams through Woody Guthrie and a touch of Marty Robins. There's upset and disaster aplenty and that old time feeling is well captured especially on the banjo and harmonica laced 'How They're Rolling' where we get some lovely tight-knit three part harmony alongside some tasty pickin' and wild wailing harmonica.</span></div>
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<span class="Apple-style-span" style="font-size: large;">'Shady Green Pastures' takes us right back to those tight old fashioned a-Capella harmonies and a superb gospel feel that brings a lump to the most cynical of throats, spine tingling stuff that can't fail to stir your heart. 'Red Red Rose' is a gruesome murder ballad that, like any good murder ballad, sucks you in and involves you in all the grisly details - lovely.</span></div>
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<span class="Apple-style-span" style="font-size: large;">'This Time Last Year' is a corker and had me checking on-line to see if it was a cover as it seemed so familiar. The aching vocal refrain will make grown men cry and comes over like an instant classic with a sad a melancholic vocal and a heartbreaking lyric about love and loss - wonderful stuff. This is followed by another gospel ditty 'A Voice From on High' that could be about the crucifixion and is a real olde worlde hymn - just like you don't hear anymore.</span></div>
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<span class="Apple-style-span" style="font-size: large;">'Just Because' IS a cover and one of those songs that everyone knows but few people can tell you who wrote it. It may have been written by one William York and whilst I know that The Stanley Brothers recorded it the version I know best is by Elvis. The take here though is a bluegrass romp and flashes with humour and cheekiness. It leads us straight into an uptempo 'Money is for Spending' complete with rockabilly Stray Cats style-guitar-boogie with some hot banjo thrown in. </span></div>
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<span class="Apple-style-span" style="font-size: large;">So, what we have here is a fun, old timey album with much to recommend it. It isn't fantastically original or innovative but it is an entertaining listen and has a wonderful contemporary sheen that will keep you coming back for a while.</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-15471139446191093422014-04-07T15:04:00.002-07:002014-04-07T15:06:53.997-07:00THE HOAX's Robin Davey talks to NE:MM <div class="separator" style="clear: both; text-align: center;">
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><b>British Blues Hall of Famers, <span class="il" style="background-attachment: initial; background-clip: initial; background-color: #ffffcc; background-image: initial; background-origin: initial; color: #222222;">The</span> <span class="il" style="background-attachment: initial; background-clip: initial; background-color: #ffffcc; background-image: initial; background-origin: initial; color: #222222;">Hoax</span>, have returned to <span class="il" style="background-attachment: initial; background-clip: initial; background-color: #ffffcc; background-image: initial; background-origin: initial; color: #222222;">the</span> international stage with <span class="il" style="background-attachment: initial; background-clip: initial; background-color: #ffffcc; background-image: initial; background-origin: initial; color: #222222;">the</span> release of their first album in 15 years, 'Big City Blues.' The promotional tour takes in Stockton's The Arc on April 24th and Newcastle's The Cluny on April 25th. Ahead of the dates we spoke to founding member, guitarist and vocalist Robin Davey. </b></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: How does it feel to be back on the road with The Hoax?<br /><br /><b>Robin</b>: It's always fun to get out and play with The Hoax. Even though we have all had success in our individual projects there is definitely something special that happens when the five of us get on stage.<br /> <br /><br /><b>NE:MM</b>: What are you looking forward to the most being "back out there"?<br /><br /><b>Robin</b>: It's just really great to see the outpouring of support our fans continue to give us. We took a long break away but it was the people who have supported the band and continued to spread the word that kept it alive, and enabled us to get back in the studio and record another record.<br /> </span><br />
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<span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: Have you played in Newcastle before, what are your memories? Do you know the Cluny? Great venue..<br /><br /><b>Robin</b>: We have played the Cluny once before and it was a great night. We have always had a great time playing the North East and the the warmth of the people and their respect for music, especially the type of music we do, means we always look forward to coming back.<br /> <br /><br /><b>NE:MM</b>: Do you have any new material coming through? what's it been like working together after such a long break?<br /><br /><b>Robin</b>: To be honest it was like we had never been away. The moment we got in the studio together things just clicked again. We went in with nothing and 10 days later we had a brand new album, which sounds better than we ever have before.<br /> <br /><br /><b>NE:MM</b>: In the past, you worked with legendary blues producer Mike Vernon (who worked with Eric Clapton, John Mayall and Peter Green amongst others), what was that like, did he tell you any scandalous stories about the people he'd worked with in those halcyon 60's days?<br /><br /><b>Robin</b>: Mike was very supportive of us in our early days. Though sometimes his clean producing style didn't fully gel with what we were aiming for, he was a great inspiration to have around. He was right there when the original blues boom started and was instrumental in not only creating defining records but also shaping the whole scene. As for scandalous stories if I told those he would probably tells ones about us!<br /> </span><br />
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<span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: Why do you think "The Blues" has endured?<br /><br /><b>Robin</b>: Because it is about raw emotion, just the same reason why comedy had endured, or art. Humans have a need for it, a need to feel something real amongst all the fast food music that saturates our ear drums.<br /> </span><br />
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<span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: Who would you say are the greatest of the blues greats? Give me your Top 5.<br /> <br /><b>Robin</b>: I can't speak for the whole band, but in my opinion, BB King, Albert King, Lightning Hopkins, Stevie Ray Vaughan, Muddy Waters, Howling Wolf, Leadbelly, Son House. I know that's more than 5 but you just can't narrow it down.<br /> </span><br />
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<span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: Is there any contemporary blues players/bands that caught your eye?<br /><br /><b>Robin</b>: Hmm this is a tough one because we started young and now I understand what we were missing back then, but also what made us unique and gave us the edge.<br /><br />The best thing we ever did from a musician and song writer perspective, I believe, was going away for 10 years and experiencing life. We had success but then we all went away and started at square one again with our own projects and that is tough. But it makes you realize what you are lacking in both experience and musical ability.<br /><br />So many young played are thrust into the limelight and though they show potential, they never become what they could be, because all they know is being told how good they are, and the inside of a tour van and venues. Here's your record deal, heres your circuit, here's your backing band, it's like the blues equivalent of Pop Idol.</span><span class="Apple-style-span" style="font-size: large;">The blues greats came out of true hardships, working crappy jobs, getting in fistfights, going to prison. The blues scene nowadays is too accessible for young performers, there is a circuit that they jump right into before they have even experienced the realities of life, and before long they have a career handed to them on a plate, I personally don't feel this is healthy for the music.</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-36403746737655990692014-04-07T07:46:00.001-07:002014-04-07T07:49:32.319-07:00STEVE DAVIS - founder of SSD Concerts - Q & A interview - Part 2<br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>In part two of our Q & A interview with Steve Davis we touch on some of the more contentious issues surrounding the man and his gig promotions. </b><br />
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<b>NE:MM</b>: Why did Think Tank? move from Hoult’s Yard to Digital?</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>Steve</b>: It’s hard to comment on this really but it was the best option for all concerned. The small shows out there suffered. Nobody want to drive out of town on a Tuesday night in the rain to see emerging bands. It has to be accessible in the city centre to work. <br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: What is the current set-up - you use a mix of venues still or Think Tank? and Riverside as home?</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>Steve: </b>Think Tank? and Riverside are home but we still use The Academy for big shows, The Head of Steam a lot because we love it, The Uni’s, sometimes along with the Gerogian Theatre in Stockton, Leeds Brudenell, York Fibbers, Factory in Manchester and more.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: How did the Riverside deal come about?</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>Steve</b>: The company that owned it went into administration and a close friend got Riverside. The set up there is now the best in the region for that capacity. We have some amazing unannounced shows to go in their its super exciting for all of us.<br />
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<b>NE:MM</b>: Why do you think Riverside is important for the city and the music scene?<br />
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<b>Steve</b>: Riverside is vital and I believe will bring around a new scene for the quayside; its perfect down there. The pre-bars, the parking, the setting, the hotels for bands etc, this will be the main venue in the city by September. Nobody’s favourite gig was in a 2000 cap space, seeing bands with 600 others is where the atmosphere is. Where the bands main hardcore fans are there and additional people find it hard to get a ticket. It’s got soul that building, the bands love it.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: What future TT and Riverside gigs have you got lined up? (can you give us one exclusive announcement as a headline?)<br />
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<b>Steve</b>: Haha I would love to let you all in on the holds we have in the diary but can’t, but by the end of June that venue will be firmly on the map. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: Bigger than Interpol and Courtney Love? There were rumours of you trying to get Prince!!??<br />
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<b>Steve</b>: Yeah believe it or not the Prince story had some truth behind it, they wanted some warm ups for the London shows last time around, they wanted warehouses and asked about Hoults, then we didn’t hear further! And yes bigger than Interpol and Courtney Love. <br />
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<b>NE:MM</b>: How did the Courtney Love booking happen?<br />
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<b>Steve</b>: We just got offered it as an additional show to her tour when the agent heard how well the Interpol show went. I will definitely be repping that one, it’ll be great to meet her and find out what she’s like, that’s an exciting weekend for us as we have Frankie and the Heartstings the night after too.</span></span></div>
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<b>NE:MM</b>: Do you have any further expansion plans?<br />
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<b>Steve</b>: Yeah always looking to move forward, I‘d like to do more grass roots stuff but I’ll tell you more about that on another day. SSD local will be something we launch in the winter of this year in local bars etc. we also have Cult Festival to announce for August.<br />
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<b>NE:MM</b>: You use a few regular bands as local supports - Lisbon, Gallery Circus - are you involved in managing them at all? Any others on your roster?<br />
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<b>Steve</b>: Yeah we officially manage Lisbon and Gallery Circus, both are flying at the minute. Gallery Circus will be one of the bands to watch this year, they are on just about every festival in the UK the next single is something else. Lisbon ... well just wait and see where those guys go, Lisbon are going straight to the top, amazing bunch of guys, amazing tracks. This is why we got into this whole thing in the first place to try and help guys like these.<br />
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<b>NE:MM</b>: Some final questions - about how people perceive you <br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">He's impossible to pin down / get hold of ...<br />
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<b>Steve</b>: Anyone who worked in a professional role who ran 2 venues, 1 promo company, managed 2 bands and had 2 small children would be hard to pin down. I tend to stay off the phone now as it wastes a lot of time, everyone who emails me gets a response.<br />
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<b>NE:MM</b>: He does too much. If he did 50% of the stuff he'd be able to do a more thorough job of promoting the gigs he does ...<br />
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<b>Steve</b>: If I did 50% there’d be a chance 50% of the bands you all want to see would come to this city, and if I did 50% I wouldn’t be giving my all. I don’t agree with that comment anymore, maybe in the past when we had the issues of Hoults to address but now we are a well oiled machine and have an ace team behind us.</span></span><br />
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-3369362117932517862014-04-07T06:31:00.000-07:002014-04-07T06:31:04.327-07:00KIRSTY MACCOLL - All I Ever Wanted (The Anthology) <br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">I received this promo cd weeks ago but it’s so full of content (43 tracks) and the booklet that accompanies it is so fascinating that it’s taken me ‘til the eve of the album’s release to finally put pen to paper.<br /><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">I was always a fan of Kirsty MacColl; not so much of the music but a huge fan of her as a music industry survivor and an experimental and brave artist. During her rollercoaster of a career in pop she was dropped by labels, was embroiled in contractual disputes, endured a failed marriage to a musical collaborator, yet through it all she continued to write and record spirited and infectious songs. As I say, I wasn’t a HUGE fan of the music but also wouldn’t have changed channel if ‘A New England’ etc had come on the radio. <br /><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">Early MacColl meant guitar based pop songs, often with witty lyrics and catchy hooks. Examples of that are found here in abundance; ‘They Don’t Know’ (made more famous by Tracey Ullman), ‘Don’t Come The Cowboy With Me Sonny Jim!’, ‘There’s A Guy Works Down The Chip Shop Swears He’s Elvis.’<br /><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">The mid point of her career was also probably its critical high point. The album ‘Kite’ contained hits ‘Days’ and ‘Free World’ whilst she enjoyed huge seasonal success with the Pogues and ‘Fairytale Of New York.’<br /><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">Towards the end of her tragically short life she recorded a world music-inspired album entitled ‘Tropical Brainstorm’. The highlight of the record was arguably the Cuban influenced ‘In These Shoes’ and that track, along with many from all parts of her diverse back catalogue are contained on this near complete collection. I say ‘near complete’ because sadly MacColl’s rendition of ‘Miss Otis Regrets’ from her Jools Holland Hootenany appearance (with the Pipes and Drums of the Irish Guards) is not here but it’s the only omission I can detect. <br /><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">As well as a broad and well chosen selection of songs you receive with this double cd a fantastic and lavishly produced booklet exploring MacColl’s interesting career and life with contributions from collaborators such as Jools Holland and Johnny Marr. <br /><br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">The whole package is a fitting tribute to a sadly missed and perhaps underrated singer songwriter. <br />
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Words: Rachel Jean </span></span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-59153516736249864082014-04-06T13:58:00.001-07:002014-04-06T13:58:44.463-07:00IAN McFERON - Acoustic<br />
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<span class="Apple-style-span" style="font-size: large;">This deceptively simple 10 track album, from Seattle songwriter Ian McFeron, is a real grower and after having lived with it for a good few days now I find many of the sings lodged in my brain. They are all soaked in Country and Americana and never overstay their welcome. With a simple array of guitar, fiddle, piano, a touch of cello here and there, some light percussion and tambourine we have a superb low-key record. The songs themselves are light and melancholic and remind me of a number of different artists like the Willard Grant Conspiracy and, at times, Randy Newman with the predominant confessional style songs that invoke lost loves, childhood and times gone.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The album opens with the upbeat 'Down the Road' as we are taken through big questions about life with some advice about "finding what we are looking for a little way down the road'. In other hands this might sound a little clich<span style="font: 12.0px Times;">é</span>d but the vocal is strong and committed and Alisa Milner's melancholic fiddle and subtle backing vocals lift it into a different dimension.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Milner's fiddle is the dominant instrument in the second song 'That's Where I Learned to Sing' that's comes across like a sad remembrance of a childhood passed. McFeron's lovely vocal reminds us what we all feel about the past sometimes. The tempo goes up a gear for 'Feelin' Good' which seems to be about the joys of living without artificial stimulants and getting high on nature and life instead of sex drugs n rock n roll and hits us with the refrain of "well I used to feel bad but now I feel so good".</span></div>
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<span class="Apple-style-span" style="font-size: large;">'The Sands Hotel' sounds like a place of strange and weird mystery and I'm not sure it's somewhere I'd like to visit. It begins with a stately piano introduction leading us into a cold and lonely town covered in dust and memory. We get advice to "pick up your bag and hit the street running" with the waves lapping on the beach leaving only lonely footprints in the sand - yikes!</span></div>
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<span class="Apple-style-span" style="font-size: large;">'Streetlight Serenade' has the most beautiful fiddle refrain and Ian's insistence that 'I would do anything...' sticks in your memory long after the album is over. In fact all the arrangements are classy but straight forward and help to evoke life's inherent simplicity as on 'The First Cold Day of Fall' and 'Summer is Gone' towards the end of the album. Both songs take us through the end of summer and the coming of Halloween and the winter, with a beautiful evocation of this time highlighted by a sad fiddle line running through them.</span></div>
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<span class="Apple-style-span" style="font-size: large;">This is not one of those records that screams "instant classic" at you but the songs are wonderfully crafted and 'Acoustic' is a superb and memorable album that repays repeated listens and is available from Ian's website now, do yourself a favour, click here and buy....</span></div>
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<span class="Apple-style-span" style="font-size: large;">http://www.ianmcferon.com/Acoustic_Album</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Greg Johnson</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-89200118005785929712014-04-04T13:21:00.004-07:002014-04-04T13:21:45.001-07:00SPEEDY - News From Nowhere<br />
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<span class="Apple-style-span" style="font-size: large;">‘Lost albums’ are things of musical myth and legend, so the launch of a new label dedicated to rediscovering and setting free such albums is to be very much welcomed and applauded.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The Lost Music Club’s much anticipated first release has been patiently waiting in the wings for 17 years and the new label describe Speedy’s <i>News from Nowhere </i>as a “glorious slice of joyful Britpop”.</span></div>
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<span class="Apple-style-span" style="font-size: large;">1997 was the year that gave us <i>Songs From Northern Britain</i> by Teenage Fanclub, <i>In it for the Money</i> by Supergrass, <i>Drawn to the Deep End</i> by Gene, <i>OK Computer</i> by Radiohead and the twin great fading tail lights of the Britpop movement <i>Be Here Now</i> by Oasis and <i>Blur</i> by Blur. To attempt to place Speedy’s album within this historical musical context is not particularly fair to all parties because it’s a surprising and refreshing contemporary collection of tunes. </span></div>
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<span class="Apple-style-span" style="font-size: large;">It’s bright and poppy but also gloriously dark in places (particularly on one of the album’s many high points, ‘I like you so much’ which is the most fun you can have while contemplating cannibalism). The album possesses a tremendous sense of humour too, name-checking, among others, Liam, Damon and Jarvis on the breakneck ‘Boy Wonder’ and sounding on the quirky ‘Karaoke King’ like a Britpop reincarnation of The Housemartins (which is no bad thing in my book!)</span></div>
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<span class="Apple-style-span" style="font-size: large;">The album is released on Monday 7 April and, excitingly, the band are playing live to celebrate its belated release, when they may finally be able to count themselves a part of the massed ranks of Sheffield’s finest.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Neil Pace</span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-11762048274077620162014-04-04T07:56:00.001-07:002014-04-04T07:56:53.892-07:00STEVE DAVIS - founder of SSD Concerts - Q & A interview - Part 1 <br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>To say that Steve Davis is a controversial figure in the local music scene would perhaps be going too far but he certainly has his supporters and his detractors. Some accuse him of trying to accomplish too much with the result being that sometimes an apparent failure to pay attention to detail can lead to disappointment. Others say that without him the local live music scene would be a far less interesting and busy one. Either way you look at it, Steve Davis is someone who is worthy of our attention and so we caught up with him recently to ask some of those questions on everyone’s lips. </b><br />
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<b>NE:MM</b>: What was your motivation to start promoting live music events?</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>Steve</b>: I have always been a huge music fan and although I can play guitar this whole thing probably started from me having the want to be a rockstar. I quickly realised that wasn’t going to happen so the music side mixed with my desire to earn £ led me to promoting shows. To this day there is still nothing like the thrill of securing a big show.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: You began as Gigs North East. When and how did it all begin and what will become of Gigs North East following the foundation of SSD Concerts? </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>Steve: </b>Gigs North East, although it was founded 10 years ago still hasn’t launched in full. It’s an exciting year for this project and there will be lots to come from it in the very near future. When I started promoting it was going to be the company promo name but we quickly started doing shows outside the region so it was shelved. The long term plan for it is great and it will be a platform and source of information for bands/promoters venues etc starting in the summer of 2014. Gigs North East will be self financed as it will stand on its own two feet due to several income streams it will develop. Generator have helped a lot with the initial stages and putting the website together. It will have an instant impact on the regions ticketing for live shows.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: When and why did you form SSD Concerts?</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>Steve</b>: SSD was formed 10 years ago or more now I wish I kept the date and our first show written down so we could tack it and have annual birthdays etc but at the start it was more of a fun thing, we didn’t know where it was going back then so everything was just thrown together and off we went. We were going to be Gigs North East but that name limits us to this region so it became SSD Concerts. It was going to be a consortium of people whose initials spell SSD but they backed out at the last minute and I had already had the logo designed so I just kept that name. It doesn’t really mean anything now the name, although people think its my initials. My Initials are actually SAD, so luckily we aren’t called SAD concerts or we’d have to put on acoustic gigs every night to make it fit : ).<br />
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<b>NE:MM</b>: How is SSD Concerts run?<br />
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<b>Steve</b>: I run it and have a small team of people I can rely on to help run the shows. I am a radiographic practitioner at a hospital for most of the week so can’t do everything myself. We’ve put on at least 1,000 shows but I can’t tell you exactly how many. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b>NE:MM</b>: You’ve had some big bands who must demand large fees. How do you manage to avoid huge losses?<br />
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<b>Steve</b>: By sending the right offer for each band, it is easy to offer the earth for most bands but most of the time you would be surprised what they actually get paid. I look at each artist as a long term relationship, you never make money on the first show you do with most emerging artists. I tend to look at each artist as a 5 show relationship you will lose on the first 2 but make on the last three. Its getting harder now though as artists are getting catapulted from the bottom to the top in 5 minutes nowadays, so by the time we have lost on the first two shows Zane Lowe has blasted them to stardom and the big boys like SJM and Kilimanjiro have taken them off us.</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="font-size: large;">In part 2 of the interview we ask Steve about why Think Tank? moved from Hoult’s Yard to Digital, how the Riverside deal came about, Interpol, Courtney Love, Prince rumours, what plans he has for the future and his response to criticisms about his style of promoting. </span></b></span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-8327218850049213412014-04-01T07:33:00.002-07:002014-04-01T07:33:50.024-07:00LIVE AT LEEDS FESTIVAL 2014 - Special Preview <br />
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<span class="Apple-style-span" style="font-size: large;">Live at Leeds is in its eighth year and after 2013’s event boasted appearances from the likes of Everything Everything, AlunaGeorge, Rudimental, Laura Mvula, Pigeon Detectives, Peace, The Staves, Savages, it’ll have to go some this time around to match last May’s festival. Taking place across various venues in Leeds over the May Bank Holiday weekend v.2014’s line-up hasn’t quite the same level of ‘headliners’ but we think that there’s plenty of strength in depth which is worthy of special consideration, so here is our guide to those lesser known bands and artists on the Saturday ‘wristband event’ schedule.</span></div>
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</span></span><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"> </span><span class="Apple-style-span" style="font-size: x-large;">BLAENAVON</span><span class="Apple-style-span" style="font-size: large;"> at Nation of Shopkeepers 1.00pm<br />We were alerted to this three man band from Hampshire over 2 years ago by the excellent ‘Crack In The Road’ online blog and have been eagerly awaiting the chance to catch the precocious teenagers ever since. Though still at school (!) they’ve crafted some beautiful indie rock befitting experienced veterans and have drawn comparisons to early Wild Beasts. We reckon they’re pretty special. <br />
<br /><br /> </span><span class="Apple-style-span" style="font-size: x-large;">THE WITCH HUNT</span><span class="Apple-style-span" style="font-size: large;"> at Leeds Uni ‘Stylus’ 2.00pm</span></span></div>
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<span class="Apple-style-span" style="font-size: large;">Fans of The Kills need to check out this Leeds trio, formed around heavy guitar licks and the piercing vocal talent of lead singer Louisa Osborn. Live at Leeds has a habit of supporting local bands and here’s a great example of that ethos paying dividends for wristband purchasers because this is a band who have grown enormously as a live act over the last year or so and seem ready to stake a claim for serious recognition. If we were label A&R scouts we’d be at this one. </span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: x-large;"> THE MEXANINES</span><span class="Apple-style-span" style="font-size: large;"> at The Cockpit 3.00pm</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">Back in the summer of 2011 we saw a Bradford 3 piece on the BBC Introducing Stage at Leeds Festival. They were one of the highlights of a weekend that included Elbow and Interpol, despite their youthfulness and relative inexperience. The band played a kind of blues infused indie rock, the blues element largely emanating from the rich lead vocal of James Brander. They’ve since added keys and sax to their sound and we’re looking forward to hearing how they’ve developed. When we caught up with James recently he was looking forward to LAL. “We are really excited to be playing at this years live at Leeds festival! We are very lucky to have landed a great spot at the cockpit this time around and if it's anything like the last time we played we know it's gonna go off big style!”<br />
<br /><br /> </span><span class="Apple-style-span" style="font-size: x-large;">LYLA FOY </span><span class="Apple-style-span" style="font-size: large;">at Leeds College of Music 3.30pm<br />
You may know Lyla Foy by her previous moniker ‘WALL’ but she reverted to her own name recently before signing to label Sub Pop for the release of her beautiful debut album ‘Mirrors The Sky’. Lyla deals in simple, minimalist and melodic pop. Leeds College of Music could be the place to stop off if you’re looking for a relaxing break in the middle of a hectic schedule. <br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: x-large;"> GALLERY CIRCUS</span><span class="Apple-style-span" style="font-size: large;"> at The Packhorse 5.00pm<br />
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<span class="Apple-style-span" style="font-size: large;">North Easterners need no telling about the identical twins who make a bigger racket than many full bands. The twins are energetic and engaging performers armed with killer hooks and soaring vocals. One half of the ‘anti-garage’ duo Graeme Ross can’t wait to play the festival: “I think the line-up looks great this year and we're delighted to be playing. It will be our first show in the city and couldn't have asked for a better one. We will be playing some new material and our new single Club house killer will be released in the same month.”</span></div>
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If you’re younger than 50 this is the closest you’ll ever get to seeing and hearing Bob Dylan in his prime. Actually, that’s a bit of a disservice to Matthew Daniel Siskin whose simple songs with beautifully crafted lyrics deserve to be appreciated on their own merits. We’ve been tracking his progress from the off in late 2012 and he’s possibly the artist we’re most looking forward to catching at the festival. Thumbs up to the organisers for putting him on in such a beautiful setting. We predict he’ll have many more disciples after the May Bank Holiday weekend. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: x-large;">EVA STONE</span><span class="Apple-style-span" style="font-size: large;"> at The Cockpit Bar 6.30pm<br />
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<span class="Apple-style-span" style="font-size: large;">The one thing all of our featured artists have in common it seems is a precocious talent and 22 year old Eva is possibly the best example of this, singing with a mature, smokey, bluesy voice of situations that you’d swear she could have no personal experience, except for the fact that her delivery is so authentic. A native of the North East she recently headed to the Capital where she found new management and a new impetus. The future looks bright for this talented young singer/songwriter. </span></div>
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As an addendum we’d suggest for an authentic Leeds indie experience you check out local favourites THE WIND-UP BIRDS at a fringe event at Milo’s. The band take the stage at 11pm we understand. Their debut album ‘The Land’ was one of our favourites of 2012 and we hear good things about the soon to be released follow-up. <br />
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As if that wasn’t enough there’s some great bands and artists of greater repute playing this year’s Live At Leeds, our pick of which would be THE HOLD STEADY, YUCK, GEORGE EZRA, MARICKA HACKMAN, LANTERNS ON THE LAKE and ROYAL BLOOD. <br />
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On the night preceding the Saturday wristband event there’s also BLOOD RED SHOES playing The Cockpit and following the release of their brilliant new album we’d recommend catching that if possible. </span>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;">Words: Russell Poad</span></span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-15144355335133486522014-03-30T03:10:00.000-07:002014-03-30T03:10:52.795-07:00PAUL THOMAS SAUNDERS - Beautiful Desolation <br />
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<span class="Apple-style-span" style="font-size: large;">I've listened to this album at least ten times before putting proverbial pen to paper. I wanted to give it every chance to impress itself on me because I have a great deal of time for the artist, who I saw in concert at Northumbria University back in October 2013 when he (and his band) outshone a stellar bill. Also, I absolutely LOVE the song 'Let The Carousel Display You & I' which somehow fails to make the debut album; indeed it's probably my favourite song of last year. </span></div>
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<span class="Apple-style-span" style="font-size: large;">So, what's my beef with Beautiful Desolation? It starts really well with the gorgeous 'Kawai Celeste' on which Saunders' voice floats above a soaring landscape of guitar and synth. The lyrics are hard to decipher due to the vocal treatment but it's not a song to study. rather one to lose yourself to. This makes it rather an odd choice for opening track then, you might think; usually these sort of songs are reserved for the climactic ending right? Yes, but that's the issue I have with this album - all of the songs could be the final track to another album - they all transport the listener to a higher place where mood matters over all else. But that simply doesn't work for a whole album ... not for me at least. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Individually there are a some great songs here - 'Good Women' sounds like a top-notch Rhye song - perfect for a slow snog at the 80's disco, whilst 'In High Heels Burn It Down' would probably have pushed the aforementioned LTCDY&I for my record of the year had it been released in 2013 and as a standalone track. That's the real shame of this album for me, some fantastic songs are made to sound ordinary because of the company they keep; there's too little light and shade, way too much production and way way too much euphoria. It's a bit like having a strong roast coffee and spoiling it with 6 sugars. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Even when the wall of noise abates somewhat, as on 'Santa Meurte's Lightning and Flare' the production is so sickly sweet that you'd be hard pushed to differentiate it from any of the other songs on offer here. </span></div>
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<span class="Apple-style-span" style="font-size: large;">I really hate not loving this record. I may ration myself to a track per week for the next 10 weeks and then re-appraise but for now I have to conclude that it just contains too much of a good thing. I hope the band visit Newcastle again soon so I can apologise in person and witness another great live rendition of these songs. </span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-14720612697455085542014-03-30T02:22:00.001-07:002014-03-30T02:22:47.936-07:00THE DIAPHANOIDS - LSME<br />
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<span class="Apple-style-span" style="font-size: large;">I have recently been reading some Philip K. Dick. If you don’t know him, Dick was a critically acclaimed American science-fiction author who wrote some 44 novels and countless short stories before his life was sadly cut short by a fatal stroke. In his novels, Dick plays around with a polymorphous set of themes, ranging from metaphysics to theology to nihilism and everything in between, but the theme that comes through strongest is Dick’s complete disregard for what we might call reality. In ‘Ubik’, for example, he writes of a world disintegrating and regressing to earlier times; in ‘The Three Stigmata of Palmer Eldritch’ he writes about a drug-induced stupor that renders reality and unreality completely indistinguishable; and in ‘Flow My Tears, The Policeman Said’, he tells us the story of a famous TV presenter who wakes up one morning to find that his identity has been erased and no-one recognises him despite his worldwide popularity. In all these novels and beyond, Dick plays with reality, bending it, twisting it, and concocting intoxicating parallel existences that leave you, the reader, feeling utterly disorientated as you try to work out if what you’re reading is ‘actually happening’ or just happening in the mind of the novel’s protagonist. Usually, you can’t definitively work out which it is. </span></div>
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<span class="Apple-style-span" style="font-size: large;">I mention all of this because this very same disorientation greeted me again when listening to The Diaphanoids new album, entitled ‘LSME’ and released on Tirk Recordings. The Diaphanoids are actually a duo, made up of Andrea Bellentani and Simon Maccari, perhaps better known as ‘Blakula!’, the name under which they have released three previous albums. The press release describes The Diaphanoids as Bellentani and Maccari’s ‘Space-Psycho Rock Project’, and in hindsight this is indeed a fairly accurate description of this album. I would probably add the prefix ‘Post’ to the word ‘Rock’, however. Pedantic terminology squabbling aside, this album beautifully combines elements of downtempo, ambient, and psychedelic post-rock, then sprinkles pretty much every drug both from the pharmacy and from the street on top. The result is something that sounds part hallucinogenic and part messianic, as soaring guitar riffs tremble over the top of soft, fuzzy, analogue sounding drum arrangements and twisted, garbled synth noises dance haphazardly between the lines. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Yet this doesn’t mean that all the songs melt into a single pot of droning noise. Far from it. The tempos are varied, and in each different song The Diaphanoids taketh sounds away with one hand as they addeth new sounds in with the other. My favourite song on here is the bafflingly named ‘Alltheconstellationsouttherearen'tworthapinpointofliquidlightinyoureyes’, the only one without any drums. It’s a lovely piece of deftly constructed ambient music which somehow shimmers with an urgent undercurrent of energy. Then we get the epic 8 minute long ‘The Blackest Sun’, a journey through a tunnel of emotional peaks and troughs. The guitar riffs writhe and scream with emotion over the top of a ritualistic drum beat, and odd other-worldly automated sounds oscillate in and out of the foreground. Across all 482 seconds of it, it’s never boring. It holds your attention as you wonder what sort of cosmic emission that guitar is going to hurl at you next. Mechanically ordered chaos at its very best. </span></div>
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<span class="Apple-style-span" style="font-size: large;">The album opener ‘55<sup>th</sup> Dimension Nervous Breakdown’, which could be title of a Dick novel, has a similar sort of pounding, unrelenting beat but at a higher tempo, while ‘You Can’t Shine If You Don’t Burn’ drags things down to a slower, gently flickering speed. Tinges of oriental flavour permeate the song, and that guitar goes from strident to stifled as it chimes out a muffled electronic plea for help. ‘How Can I Distinguish Sky From Earth If They Keep On Changing Their Place’, which could also be the title of a Dick novel, is also good, driven by a repeating but somehow not repetitive bass tone. What’s more, the penultimate ‘Our Own Private Elsewhere’ is definitely the most ‘acid’ song you’ll find here. It’s distinctly strange: I feel like if motion sickness came with an accompanying soundtrack, this would be it. It bubbles and gurgles and sloshes around noisily, and the only thing that keeps you tethered to your sanity is, again, this ritualistic throbbing beat which tugs you along. Album closer ‘These Nights Wear Three Heads Five Arms And Ten Legs’ (what is it with these guys and song titles?) is the culmination of its predecessor, complete with riffs that the mentalist guitar player Yngwie Malmsteen would surely approve of. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Throughout the entire album this Dick-like theme of disintegrating reality persists. Have you seen the film Gravity? It’s a bit like the scenes in that where Sandra Bullock is spinning around in outer-space. It’s that sort of feeling of not knowing what is happening; what sounds are coming; what that guitar will do next; whether or not that faraway synth will accelerate towards you or continue to lurk uneasily in the acoustic shadows. Yet like when you read Dick, you emerge out of the other end not knowing exactly what’s just happened, but you feel richer for it nonetheless. Deliberately and consciously creating this sort of unreality is masterful, whether in written word or musical composition. The Diaphanoids may benefit from a quiet word from the record label about the length of their song titles, but sonically this is astounding. </span></div>
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<span class="Apple-style-span" style="font-size: large;">In terms of criticisms, musically I don’t really have any. This album does what it sets out to do very well. The only thing I would perhaps say is that the order of the songs is wrong. I would never have put the slow burning ‘You Can’t Shine If You Don’t Burn’ straight after the more upbeat opener, and I would probably have had the ambient piece ‘Alltheconstellations…’ as the album closer as a way of winding it down. But, I suppose, you could argue that the organisation of the tracklist adds an extra dimension to that feeling of psychedelic disorientation, somewhat akin to being turned upside down by a tidal wave just after you’ve been floating around peacefully on an inflatable lilo. </span></div>
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<span class="Apple-style-span" style="font-size: large;">All in all, this is an album that I rather like, and I think Philip K. Dick would too. Indeed, he once said of his novels that “I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have, because the world we actually have does not meet my standards.” Such a quote, for me, perfectly sums up what I think The Diaphanoids set out to do with this album. And I think they’ve succeeded. Therefore, if you like ambient music, post-rock, downtempo, or indeed anything with psychedelic overtones, you’ll at the very least find this album an intriguing and thoughtful listen. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Matthew Scott</span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-43020360063244676522014-03-25T12:07:00.000-07:002014-03-25T12:07:31.698-07:00FALL OUT BOY at Metro Radio Arena, Newcastle - 21st March 2014<br />
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<span class="Apple-style-span" style="font-size: large;">The Metro Radio Arena housed nearly every former Myspace kid in the North East last Friday, as fans were transported back to days of good-hearted Emo Pop lyrics and boy band crushes. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Fall Out Boy performed almost every ‘corker’ from their five album backtrack which easily pleased both old and new followers of the American quartet.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The Pretty Reckless set the scene for the crowd which proved bad-ass front girl Taylor Momsen to be a little more than just ‘Cindy Lou’ from The Grinch.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Gig goers opened their ears to a harder kind of Rock which reflected Momsen’s influences from legendary icons such as Joan Jett and Kurt Cobain in such a male dominated genre.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The set was extended to make up for a missing support act, New Politics, who seemingly had a slight run in with the authorities on the road to Geordie land, ooer.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Yet the crowd seemed to eat up the rebellious sounds and enviably cool personas found in New York City’s grungiest rockers.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The venue went pitch black and the crowd roared as the speakers began to echo the distinct voice of everyone’s favourite frontman, Patrick Stump.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Fall Out Boy cropped up on stage sporting mysterious black balaclavas to match-up with the ‘Save Rock and Roll’ tour theme drawn from their latest genius album.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Everything about the performance carried such a strong sense of Rock music’s revival with Pete Wentz himself exclaiming that this genre was never dead to begin with.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Crowd Pleasers, ‘Sugar We’re Goin’ Down’ and ‘Dance, Dance’, came from ‘Under The Cork Tree’ and sent the crowd into a frenzy as they rewound to teeny bopper years where Kerrang! Music channel was treat as the Holy Grail. </span></div>
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<span class="Apple-style-span" style="font-size: large;">They continued to surprise as they suddenly appeared on the middle stage to perform a two song acoustic piece including hardcore fan favourites, ‘Chicago Is So Two Years Ago’ and ‘Grand Theft Autumn/Where Is Your Boy’.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Patrick, Pete, Joe and Andy effortlessly proved the reincarnation of Fall Out Boy’s music to a sea of awe-struck and dedicated followers, jumping back from darker times during the band’s two year hiatus.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Recent chart hits ‘My Songs Know What You Did in the Dark (Light 'Em Up)’ and ‘Save Rock and Roll’ uplifted the crowd and welcomed them in to the super group’s reimagined world and image. </span></div>
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<span class="Apple-style-span" style="font-size: large;">An emotional Fall Out Boy left Newcastle with a real ‘Infinity On High’, making no secret of the fact that they were saved because of Alt fans who remained loyal to their music.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Amber Ahmed</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-58039200550290619262014-03-24T09:06:00.002-07:002014-03-24T09:08:08.749-07:00SPECIAL GIG PREVIEW (part 2 of 2) NE:MM PRESENTS ......<br />
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<span class="Apple-style-span" style="color: #444444;"><span class="Apple-style-span" style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">We're branching out into live music promotion this week - here are the details:</span><br style="line-height: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><span class="Apple-style-span" style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><br style="line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><u style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">FRIDAY 28th March 2014</u> at THE CLUNY 2, Newcastle</span></span></h3>
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<span class="Apple-style-span" style="color: #444444;"><span class="Apple-style-span" style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">POST WAR GLAMOUR GIRLS </span></span></h3>
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<span class="Apple-style-span" style="color: #444444;"><span class="Apple-style-span" style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><br /></span></span></div>
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<span class="Apple-style-span" style="color: #444444;"><span class="Apple-style-span" style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">On the road to promote their blistering debut album Pink Fur, don't miss the chance to see this band in an intimate venue while you still have the chance.</span></span></div>
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<a href="https://www.youtube.com/user/PWGGTV">https://www.youtube.com/user/PWGGTV</a></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">TISSUE CULTURE </span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">The perfect support for this gig and a local indie rock band that never stop improving. It's only a matter fo time before they're 'discovered' so get ahead of the crowd and don't miss their set. </span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">Doors 8pm</span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">Stage times - </span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">Tissue Culture 8-30pm</span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">Post War Glamour Girls 9-30pm</span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">Tickets available here until 4pm on Thursday 27th March. </span><a href="http://www.wegottickets.com/event/260797#.UzBXmxwaWkI">http://www.wegottickets.com/event/260797#.UzBXmxwaWkI</a></div>
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<span class="Apple-style-span" style="color: #444444; font-size: medium;">Tickets also available on the door. </span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-84153304198726500952014-03-24T08:53:00.001-07:002014-03-24T08:55:14.253-07:00SPECIAL GIG PREVIEW (part 1 of 2) NE:MM PRESENTS ......<br />
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<a href="http://1.bp.blogspot.com/--HjwgNJv_Sc/Usbrr0UNTOI/AAAAAAAAAS4/7YF6iH5iYOk/s1600/LOGO+WHITE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/--HjwgNJv_Sc/Usbrr0UNTOI/AAAAAAAAAS4/7YF6iH5iYOk/s1600/LOGO+WHITE.jpg" height="400" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: large;">We're branching out into live music promotion this week - here are the details:</span><br />
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<span class="Apple-style-span" style="font-size: large;"><u>THURSDAY 27th March 2014</u> at THE CLUNY, Newcastle</span><br />
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<span class="Apple-style-span" style="font-size: large;">As part of our ongoing fundraising efforts we're putting on EIGHT great local artists/bands for a mere £5 entry. </span><br />
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<span class="Apple-style-span" style="font-size: large;">This is only possible due to the generosity of the performers who are giving their time for free, and the venue. We'd like to place on record our gratitude. </span><br />
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<span class="Apple-style-span" style="font-size: large;">7-05-7-20</span><br />
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<span class="Apple-style-span" style="font-size: large;">The Unreliable Narrator </span><br />
<a href="https://soundcloud.com/the-unreliable-narrator">https://soundcloud.com/the-unreliable-narrator</a><br />
<span class="Apple-style-span" style="font-size: large;">Singer/songwriter Chris Whiting has a unique style of performing, often utilising different vocal styles within his clever, witty and original songs. He'll be joined by a new collaborator, his sister Ruth, for this gig. </span><br />
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<span class="Apple-style-span" style="font-size: large;">Paige Temperley & Allan Hyslop</span><br />
<a href="https://soundcloud.com/paige-temperley/paige-temperley-allan-hyslop">https://soundcloud.com/paige-temperley/paige-temperley-allan-hyslop</a><br />
<span class="Apple-style-span" style="font-size: large;">These two were made to sing together. Paige is known for her sweet and charming vocal style as well as her fine songwriting, both of which she now employs within the popular group Oursleves & Us. Allan is lead singer and songwriter for upcoming band Kosoti and was formerly lead in James Allan & Co. </span><br />
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<span class="Apple-style-span" style="font-size: large;">The Shooting Of...</span><br />
<a href="https://soundcloud.com/theshootingof">https://soundcloud.com/theshootingof</a><br />
<span class="Apple-style-span" style="font-size: large;">Paul Jeans has been around the local music scene for some time in various guises (most notably perhaps Jeans Goes Pop and The Lindsay Tin) and his latest project gives him the chance to show off his songwriting craft and musicianship to the max.</span><br />
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<span class="Apple-style-span" style="font-size: large;">Gem Andrews</span><br />
<a href="https://soundcloud.com/gem-andrews">https://soundcloud.com/gem-andrews</a><br />
<span class="Apple-style-span" style="font-size: large;">I read somewhere that Gem sings 'dark country ballads' and whilst that's true, it misses out the fact that she has a voice reminiscent of K D Lang. A fantastic and underrated talent. </span><br />
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<span class="Apple-style-span" style="font-size: large;">What We Call Progress</span><br />
<a href="http://whatwecallprogress.bandcamp.com/">http://whatwecallprogress.bandcamp.com/</a><br />
<span class="Apple-style-span" style="font-size: large;">John Pattison and David Young wouldn't be out of place as members of Radiohead. The music may be synth-based but there's nothing synthetic about the emotion in John's voice. They've some new songs to showcase at the gig. </span><br />
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<span class="Apple-style-span" style="font-size: large;">9-30-9-50</span><br />
<span class="Apple-style-span" style="font-size: large;">Meghann Clancy</span><br />
<a href="https://soundcloud.com/meghannclancy">https://soundcloud.com/meghannclancy</a><br />
<span class="Apple-style-span" style="font-size: large;">Despite her young age Meghann has been a stalwart of the local folk/acoustic scene for some time and is known for her delicate and beautiful songs and vocal talent. </span><br />
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<span class="Apple-style-span" style="font-size: large;">10-00-10-20 </span><br />
<span class="Apple-style-span" style="font-size: large;">Peculiar Disco Moves</span><br />
<a href="https://soundcloud.com/peculiar-disco-moves">https://soundcloud.com/peculiar-disco-moves</a><br />
<span class="Apple-style-span" style="font-size: large;">The North East's most quirky, fun band. Like Ben Folds Five with a sense of humour. Guaranteed to put a smile on your face. </span><br />
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<span class="Apple-style-span" style="font-size: large;">So What Robot</span><br />
<a href="http://www.sowhatrobot.com/">http://www.sowhatrobot.com/</a><br />
<span class="Apple-style-span" style="font-size: large;">There's no better way to finish off a night like this than with the cheerful guitar pop of So What Robot. Great guys, great tunes, great musicianship, great entertainment. </span><br />
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<span class="Apple-style-span" style="font-size: large;">You can buy tickets in advance here - up until 6pm on Wednesday 26th March.<a href="https://www.blogger.com/goog_1714844766"> </a></span><a href="http://www.wegottickets.com/event/260798#.UzBU5RwaWkI">http://www.wegottickets.com/event/260798#.UzBU5RwaWkI</a><br />
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<span class="Apple-style-span" style="font-size: large;">There will also be tickets on the door. </span><br />
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<span class="Apple-style-span" style="font-size: large;"><br /></span>NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-32467498969399762362014-03-24T02:35:00.001-07:002014-03-24T02:35:03.383-07:00BARRY DOUGLAS - Schubert: Works for Solo Piano, Volume 1<br />
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<span class="Apple-style-span" style="font-size: large;">The latest release by Barry Douglas is a volume of piano works by Schubert, incorporating some very well known pieces of his compositional output, alongside other, lesser known pieces<span style="font: 12.0px Times New Roman;">.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;">The ‘Piano Sonata in B flat’ is a quiet and reflective way to open the album, broadening out to becoming more majestic towards the end of the first movement then becoming withdrawn and full of stasis in the next. The third movement becomes full of life, and then finishes with another reflective movement. This is an interesting opening to Douglas’ album, and paves the way for piano playing which is both quiet and unassuming, moving towards an extrovert character in other parts of the album.</span></div>
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<span class="Apple-style-span" style="font-size: large;">I am a huge fan of lieder: I love the style of having a piano and a voice which, to me, is such a simple way to experience music. I was excited to see that two lieder features on Douglas’ album. However, in this case, they are transcribed for solo piano by none other than Franz Liszt,. ‘Du bist die Ruh’ is a slow, moving piece of music which has a slight sentimentality to it which Douglas’ manages with great care, climbing up from the quietness to the grand crescendos and back again with careful consideration. The next, ‘Ungeduld’ focusses more on a quick tempo with a melody line which soars above the accompaniment in a playful way. Douglas pulls around with this a little, slowing down and speeding up again before the audience expects it, putting his stamp on a piece of music which has been beautifully transcribed by Liszt. </span></div>
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<span class="Apple-style-span" style="font-size: large;">The last piece, ‘Fantasy in C major’ is a safe choice, and showcases one of Schubert’s favourite styles to write in: a fantasy. The album notes suggest that he was drawn to this form because the title was ‘non-prescriptive’ and because the form did not have to be prescribed such as with sonata form. Douglas’ playing throughout the whole fantasy conveys the wandering freedom of , drawing out the lyricism (especially in the second movement) and virtuosity. Every movement runs together flawlessly, and the listener has the sense of wandering in and out of various musical thoughts and moods with Douglas. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Overall this is a ‘nice’ album: it is not anything massively flamboyant and manages to showcase various aspects of Barry Douglas’ playing, without being too much of a ‘show-off’ about it. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Emma Longmuir</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-41925560959514500072014-03-24T02:26:00.002-07:002014-03-24T02:26:59.367-07:00METRONOMY at O2 Academy, Newcastle - 20th March 2014<br />
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<a href="http://3.bp.blogspot.com/-l7F2y8jgcN4/Uy_6KRG8dGI/AAAAAAAAAgI/QwWmNix0X40/s1600/Metronomy_Daniel+Robson_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-l7F2y8jgcN4/Uy_6KRG8dGI/AAAAAAAAAgI/QwWmNix0X40/s1600/Metronomy_Daniel+Robson_6.jpg" height="640" width="426" /></a></div>
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<span class="Apple-style-span" style="font-size: large;">I always make a point of catching the support band. At the very least it helps to build anticipation for the main act and sometimes you can discover a rare gem. Support for this gig was electro-pop band Virginia Wing. Sadly, they fall into neither category. In fact, a new category should be created for worst ever support act. I don't say such things lightly; I can't play or sing so who am I to criticise? However, it irks me that this prime support slot could have been filled by a band with greater imagination, ability and conviction - I can think of many local bands who'd have been far better suited to the event and who would have benefitted greatly from the exposure. Virginia Wing had a great drummer. The rest of the band looked uninterested. The bassist must have played a maximum of 3 notes during the 6 or 7 song set. The vocalist was so flat and out of tune as to be embarrassing. Sorry, they were dreadful. </span><br />
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<span class="Apple-style-span" style="font-size: large;">Metronomy had a task to wake me from my Virginia Wing malaise. Thankfully the crowd had been sparse until the headliners arrived on stage and so others weren't similarly afflicted. From the outset there was a hardcore of bouncing youth front and centre, helping to create a genuine party atmosphere. Like party organisers, complete with Butlins-esque matching jackets and trousers, Metronomy ignited the majority with a set full of upbeat and cheery songs. </span><br />
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<span class="Apple-style-span" style="font-size: large;">The band played expertly and all of the hits were rolled out as well as a healthy dose of new album 'Love Letters.' Maybe it was me but I was still left a little cold by it all. The band are fairly static during performance (bassist Gbenga Adelekan aside) and tunes that weave a crafty delight on record can sound a little flimsy and twee live. I found myself comparing the gig to one I'd seen a week earlier when Chvrches had blown me away with a much fuller sound than I'b been expecting. This compared poorly, but again I'm aware that the implied criticism is perhaps a little unfair; you go to a Metronomy gig to see and hear Metronomy not Chvrches. Those who managed to get into the spirit of the gig seemed to enjoy it very much indeed. </span><br />
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<span class="Apple-style-span" style="font-size: large;">Words: Russell Poad</span><br />
<span class="Apple-style-span" style="font-size: large;">Phot: Daniel Robson</span>NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-76626254387387932002014-03-23T15:48:00.001-07:002014-03-23T15:48:48.776-07:00CONCERT PREVIEW - SAMLING MASTERCLASS at Sage Gateshead - 26th-29th March 2014<br />
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<span class="Apple-style-span" style="font-size: large;">For the past 18 years Samling has attracted the best in the world to its prestigious Masterclass programme for outstanding young classical singers and pianists.</span></div>
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<span class="Apple-style-span" style="font-size: large;">From the 250 plus artists who have benefitted from the residential courses to the world class stars who lead them, North East audiences have been treated to an experience that is usually out of reach, and given the chance to see, close up, world class performances as they are created.</span></div>
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<span class="Apple-style-span" style="font-size: large;">World renowned North East baritone Sir Thomas Allen will lead Samling’s second Masterclass of 2014, with acclaimed accompanist Malcolm Martineau and the American vocal guru Stephen King, who comes to Samling for the first time from Houston Grand Opera in the United States. </span></div>
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<span><span class="Apple-style-span" style="font-size: large;">The expert team will be working with six singers and three pianists in a public Masterclass on Wednesda<wbr></wbr>y 26 March at 2pm in Northern Rock Foundation Hall, Sage Gateshead and the intensive week reaches its climax in a concert on Saturday 29 March at 7pm in Hall Two, Sage Gateshead in a lively programme of opera arias, ensembles and song.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;">Tickets are priced £10 for Masterclass and £15 for the Concert, with a joint ticket for both events £22 and are available from Sage Gateshead</span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-50951985527575772552014-03-23T15:31:00.002-07:002014-03-23T15:31:45.167-07:00ABBA - Waterloo (40th Anniversary Deluxe Edition)<br />
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<span class="Apple-style-span" style="font-size: large;">In 1974 ABBA won the Eurovision Song Contest with the title track from their second studio album, Waterloo. To mark the 40th anniversary of the win and the album's international release it's getting a 'deluxe' re-release on 7th April. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Some of the songs will be familiar to all of a certain age; 'Hasta Manana', 'Ring Ring', 'Honey Honey', 'Dance (While The Music Still Goes On)', and the title track. The reason we remember these songs (and perhaps none of the others) is that they have tremendous melodic quality. The lyrics may seem a little simple and dated but a good tune never grows old. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Sadly, the quality control department were out to lunch when some of the other tracks made it onto the record. Particular mention has to go to the truly awful 'Sitting In A Palmtree' on which Bjorn takes lead vocal (so imagine a Swedish man attempting to emulate a West Indian to an irritating reggae influenced musical backdrop - excruciating). </span></div>
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<span class="Apple-style-span" style="font-size: large;">So, the basic album is about 50% great and 50% awful but this isn't the basic album, it's "DELUXE"!! So what else do you get? Well, multi-linguists are in for a treat as you get 5 versions (yes FIVE) of the tile track - French, German, Swedish, English and Alternate Mix. Then there's foreign language versions of Honey Honey and Hasta Manana and a remix of Ring Ring. I think it's fair to say that this is a bit of a completest's dream but for the rest of us it may seem a little bit too much of a good thing. </span></div>
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<span class="Apple-style-span" style="font-size: large;">Apparently there's a DVD release to co-incide if that isn't enough for you! </span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Rachel Jean </span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-71428547266599469282014-03-23T12:29:00.002-07:002014-03-23T13:16:17.579-07:00THE BAND FOR DISEASE CONTROL AND PREVENTION - The Band For Disease Control And Prevention<br />
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<span class="Apple-style-span" style="font-size: large;">Maria Mackman & Antony Bircham are, they claim in their press release, "solely responsible for the calculated racket" on their splendidly titled band and debut album. The overall sound is a relentless onslaught of thundering drums, spiky punk guitar and yelped vocals. In many ways it harks back to the heady punk days of 1977 but the heart here is completely contemporary. The songs touch on a range of sometimes taboo subjects like mental health, religious hypocrisy, conflict, despair, truth and self pity.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The albums kicks of with 'Form' that begins with some weird guitar effects that rumble like a thundercrack before Mackman asks us a series of questions and screams "no one knows what I'm really thinking of" while the guitars roar impressively behind her. The songs are, for the most part, short, punchy and sweet and before you know it we are into 'Pert Plastic' with a healthy dose of feedback and a crunching guitar line as Mackman seemingly descends into depression with a spooky, scratchy guitar solo moving things along.</span></div>
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<span class="Apple-style-span" style="font-size: large;">The songs are somewhat similar across the album but this helps to give it coherence and strength. The duo clearly draw influences from a wide spectrum from within the well of punk and elsewhere, you can hear the Sex Pistols, Siouxsie and even a splash of X-Ray Spex (in a good way). This convergence of influences is clearest on 'Self Pity Me' that rides out on a riff that shares it's roots with Led Zeppelin's 'Kashmir' and draws on some Black Sabbath too and there's in a nice borrowed line that I know from somewhere but can't place in "I never want to wait for the storm to pass - I just want to dance in the rain". </span></div>
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<span class="Apple-style-span" style="font-size: large;">'April of the Fool' initially slows the frantic pace a little but soon has the guitar thrashing away behind Mackman's chanted scary vocal. The remaining songs thunder along in a high octane way breezing along until we hit the twin peaks of 'Man of God' which is an angry chant of sheer horror with treated vocal and roaring guitars. Too soon we reach the final track and unlike the short and thrilling preceding songs 'Strawberry Day' has a huge epic quality as it rolls across its eight minute duration. It begins with a ghostly synthesiser, stately piano, some scratched guitar and a rumble of drums before the banshee wail of Mackman smashes back in and the layered guitars crank things up to end on a real raucous high point with Mackman screaming "Where Are You Now?" and a superb blasting riffing coda ending proceedings.</span></div>
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<span class="Apple-style-span" style="font-size: large;">So, it's an impressive debut and a welcome antidote to the anti-septic and anaemic music that seems to surround us today. If you want to hear an album that is stuffed with guts, balls and stomping big riffs then this one is for you.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Greg Johnson </span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-49366164091537910562014-03-23T12:17:00.000-07:002014-03-23T12:17:35.242-07:00SIBELIUS Violin Concerto, Karelia Suite, Finlandia, Valse triste, Andante festive, Valse lyrique, The Swan of Tuonela – Jennifer Pike with Bergen Philharmonic Orchestra conducted by Sir Andrew Davis<br />
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<span class="Apple-style-span" style="font-size: large;">Jennifer Pike shot to fame in 2002 when she became the youngest ever winner of the prestigious BBC Young Musician of the Year at the tender age of 12. Since then she has studied at the Guildhall and Oxford University and released numerous recordings including a world premiere of Schulz violin concerto by the contemporary Australian composer.</span></div>
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<span class="Apple-style-span" style="font-size: large;">I know the Sibelius concerto well, having been given a recording featuring eminent South Korean Dong-Suk Kang as a young violinist myself. Pike to my ear has the exact right style for the Finnish composer’s only full length concerto – a somewhat sinuous tone which slides and glides wrought with passion over the full range of the violin. The tricky nature of the concerto is neither made to sound too easy nor strained, rather I was left in awe at her technique and poise. </span></div>
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<span class="Apple-style-span" style="font-size: large;">The violin enters on a shimmering carpet of strings, beautifully balanced (to the point of disappearing). The beginning of this first movement feels like the calm before the storm, and Pike’s tone initially very much matches the tone of the orchestra. Soon, however, Sibelius develops things in a more agitated direction, leading to the tuneful and interactive cadenza between violin and orchestra. The slow movement features the woodwind and horns interspersing with the solo violin. Although the key is B flat major there is throughout an ominous presence, emphasised by the heavy bass line and the pulsing strings. Pike’s playing in this movement has an urgency and commitment which truly makes her stand out as the violinist of her generation. In the bouncy final movement, once compared to ‘a polonaise for polar bears’, the orchestra feels expertly guided by Sir Andrew Davis, leading into a glorious rendition of the triumphant melody.</span></div>
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<span class="Apple-style-span" style="font-size: large;">A selection of Sibelius’ orchestral works form the rest of the Super Audio CD. Most of these are familiar jolly works full of brass fanfares and soaring string sounds, although there are also calmer treats such as the beautiful <i>Swan of Tuonela</i> (cor anglais Hege Sellevåg, cello Jonathan Aasgard) and the moving <i>Andante festivo</i> scored for string orchestra and timpani. It seems a shame Jennifer Pike is not featured any further, but the Bergen Philharmonic certainly make the recording their own with these tracks and enjoy the warmth and tonality of Sibelius.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Katie Lodge</span></div>
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NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0tag:blogger.com,1999:blog-3844211232962388569.post-5041692365867407542014-03-22T04:51:00.001-07:002014-03-22T04:51:44.770-07:00GIG PREVIEW - FOREIGNER and EUROPE at Newcastle City Hall on 4th April 2014 <br />
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<span class="Apple-style-span" style="font-size: large;">With worldwide sales of almost 80 million albums Foreigner is one the most successful rock groups of the last four decades.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Tickets for the bands date in Newcastle sold out in record time, and it’s no surprise either, as fans are eager to celebrate the return of Mick Jones – the bands sole remaining founding member – who took a sabbatical for health reasons following the release of 2009’s ‘Can’t Slow Down.’</span></div>
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<span class="Apple-style-span" style="font-size: large;">With their induction into the Rock and Roll Hall of Fame – presided over by none other than Billy Joel – Foreigner have surpassed their equals in terms of status and recognition – hits like ‘Cold As Ice’ and ‘I Want to Know What Love Is’ receiving modern airplay thanks in part to their inclusion in the popular Grand Theft Auto videogame series – proving that good music always lives on.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Providing support on the night are Sweden’s original Scandinavian rocker’s Europe, whose timeless melodies speak for themselves, and who also received a revival of sorts on the touring circuit following 2009’s ‘Last Look at Eden’ – 2013 saw Europe celebrate their 30<sup>th</sup> anniversary as a group and this is a rare chance to see the headliners play a supporting role.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Words: Wayne Madden</span></div>
NE:MMhttp://www.blogger.com/profile/12361786250125935805noreply@blogger.com0