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NOTTINGHAM UNIVERSITY’S OFFICIAL MUSIC MAGAZINE

NME AWARDS TOUR

ISSUE 32FREE

The Mic | 1

CONTENTS EDITORIAL

So the year is up and unfortunately its only been three issues this year due to some technicalities and missed opportu-nities. It has been a tough year behind closed doors and the fi nancial situation has hopefully been rectifi ed so that next year things will run smoother. Now for next year and your new committee that will be bringing you all of the goings on and some gigs of their own showcasing acts from the University and the Not-tingham area. John Bell and Cara Mc-googan will be your new editors, Melissa Wade your new treasurer, Luke Atkins will be given the reins on a new website with Esther Moriarty and Matt Stiff as your reviews and features editors. So good luck to them But more impor-tantly a MASSIVE thank you to those of you who have kept on supporting us through the year. Huge shout out to Ben Ryles at the Rescue Rooms and Alec at Bodega and all those at DHP. To Matt Buck at the Malt Cross, Alistar at Alley Cafe and all those who have supported us throughout the year. And especially to Franc and all those at Rhythm Circus.A massive thanks goes to all our com-mittee and designers this year. The input from some of you has been phenomenal abd I hope you’ll continue to support the magazine next year.

Tom Jenkin

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Thanks to the PR companies for providing us with some amazing opportunities this year, Rob and James at Rob and James at Sonic PR, James at Pamona, all the team at Chuff media, Anthea at PCPR, Georgia at Zeitgeist Agency, Kate at Work It! Media, Angela Lee, Simon Murphy and everyone in the SU, shout out to Jess, David and Max for their invalu-able help with this issue on design, and if I’ve forgotten anybody, big props to everyone who has made this happen. Cheers!

Page 2 | NME Awards Tour Cara Mcgoogan reports on the tour with a short inter-view with Metronomy front man Joseph Mount.

Page 5 | A$AP Rocky Nancy Bukasa on Harlem’s hard hitting purple rapper.

Page 6 | Gig GuideYour guide to the up and coming festivals this sum-mer from over the UK and the continent.

Page 14 | Dot To Dot

Sam Moore of Rhythm Circus and The Mic reports on the wettest indoor festival in Notting-ham, Dot To Dot.

Page 16 | Live reviews from our contributors of the best live acts in Nottingham from previous months.

Page 20 | Album reviews

The Shins, High Contrast, Raekwon and Howler.

Page 24 | The songs that kept yougoing this exam season, compiled into our revision soundtrack.

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The initi ally quiet audience of a few avid supporters and those who don’t realise gigs actually start at 9 ulti mately builds to a cre-

scendo at the end of the night where the venue morphs into a busy sea of sweaty, jumping, energeti c listeners. This crowd refl ects the acti on onstage whereby each band is succeeded by a bigger and more experienced version of themselves. The last Awards Tour I went to, in 2010, followed this model where an evening of generic but enjoyable indie rock and pop was opened by The Drums and closed by The Mac-cabees. In 2011, The Vaccines were the only band who didn’t fi t with the general move towards an electronic sound in the line up. By 2012 however, the line up was so diverse that it would be hard to link any of the acts together under one umbrella term. The night began with Azealia Banks (hip hop); followed by Tribes (rock); then Metronomy (electronic); and fi nished with Two Door Cinema Club (indie rock). This diversity brought more interest and texture to the night. It refl ected the diff erent strands of alternati ve music which have been growing over the years and left me questi oning whether there really is such a genre as ‘indie’.

Before the gig I spoke with Joseph Mount, Metronomy front man, about how he felt his band fi t into this culture of independent, alternati ve music. Mount began his music career as a drummer in many diff erent teenage bands and, when asked how he felt to perform on Glastonbury’s famous Pyramid Stage he replied: ‘it didn’t quite happen as I expected it to, I always saw myself on the stage playing the drums’. In his gap year Mount moved to Brighton to create music on his own and soon began to release his remixes under the name Metronomy. When he started making music on his own he said he ‘stopped listening to bands like The Beatles, Weezer, Nirvana and Green Day’ (who he reassures me he only liked for a bit while laughing) and started listening to ‘weird dance stuff ’ made by solo arti sts such as Afi x and DJ Shadow.

Having now developed into a fully fl edged band performing at the NME Awards Tour, Mount classes Metronomy’s music as ‘indie shmindie’, seeming reluctant to associate too much with the indie scene since ‘the Liberti nes changed what people thought indie was. Now you have to be a bit smelly to be indie’ (laughing). He said that he hopes his music is more ‘interesti ng’ than other indie bands as it is ‘not just guitars’ and he hopes that one day they ‘might collide with the mainstream’. Mount gave me a fairly bleak view of his involvement with the wider music scene, saying ‘once you become a musi-cian, the whole magic of what you go and see a gig for kind of disappears […] I fi nd it hard to listen to music without being criti cal of it’. Talking with Mount showed me that gone are the days of united music movements (such as Punk) and we have been left with the bland ti tle of ‘indie’ to describe any band who doesn’t care about the charts or att racti ng the support of the mainstream. I was thus left prepared by Mount for the eclecti c mix of music that the night had in store.

NMEAwards Tour 2012

In previous years the NME Awards Tour has been a fairly predictable event. You can expect to stand in a crowd sur-

rounded by under-18 drunken teenagers ready to dance and mosh to four fairly similar alternative bands.

Opening the show, Azealia Banks’ aggressive lyrics brought a taste of Harlem to Rock City. She faced a diffi cult task in confronti ng the archetypal NME crowd with raw rap as op-posed to the expected band-created vocals and instrumentals. However, by the end of her well known fi rst single 212 she had the small audience on their toes singing along. Banks impressively energised a wary crowd into a crew of rappers through a catchy chorus and a House-infl uenced bass line.

Completely contrasti ng with Banks, Tribes brought a mixture of traditi onal guitar rock and American punk to the stage. While their songs were well-formed and the performance smooth I felt it was very generic. They didn’t off er the audience anything more than the guitar bands of the past and none of their songs were parti cularly remarkable or involv-ing. A great deal of those who had made it through the large queue outside scatt ered their Tribes promoti onal fl yers (which ti pped them to be ‘the Next Big Guitar Band’) on the fl oor and headed to the bar, waiti ng there for Metronomy and Two Door Cinema Club.

Having been disappointed by Metronomy’s performance at Glastonbury, it is safe to say that their performance in Rock City changed my opinion of their talents. Suited to a smaller, enclosed venue their acti ve electronic tunes thrived under the atmosphere cre-ated by Rock City’s manic green lasers and their trademark light-up badges.

In spite of this enjoyable mix of supporti ng bands, everyone was defi nitely waiti ng for headliners Two Door Cinema Club. Having been enthused by Metronomy, Rock City’s interval DJ worked the crowd into a frenzy by playing Sandstorm just before Two Door came to the stage. The electric atmosphere exploded when Two Door Cinema Club fi nally opened their show, and remained throughout their performance as they successfully built-up to every song. Telling the audience that their last Notti ngham performance was in Bodega, it is clear how their talents have allowed them to grow so rapidly to maxing out Rock City. At this rate the next ti me they come to Notti ngham they could be fi lling Trent FM Arena; I hope not though as Rock City’s hot, dark, rave-inspired setti ng worked in har-

mony with their energeti c indie rock songs. It’s safe to say that I sti ll prefer this traditi onal NME Awards, indie rock band to the earlier, more experimental,

acts of the night.

“What started a fairly slow night defi -nitely built up to that crescendo which the NME Awards Tour is so apt at providing. Who can say if next year’s line up will be as diverse as this years; all I hope

is that its audience members never lose their liveliness and vigour. “

NMEAwards Tour 2012

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Interview with Joseph Mount

Me: What’s been your best moment? Mount: When things are going really well you’re lucky because there are so many best moments’: of Glastonbury, the Albert Hall and ‘the Mercury thing.

Me: Have you any wider ambiti ons for your music? Mount: I guess now I want to try doing music for fi lms.

Me: How simple has your transiti on from a solo arti st to the lead of a band been? Mount: I’m very precious about my music; I won’t let the idea of upsetti ng anyone get in the way of it.

Me: Do you have any spoilers for the next year to tell us?Mount: Well we’re doing this tour with Coldplay in America which is kind of a big deal for them (laughs).

Me: Does America not excite you that much then? Mount: I don’t want to be rude about the Americans but in what kind of a world is it hard for us to break America but very easy for Mumford and Sons.

Cara McGoogan

Metronomy Interview

NMEAwards Tour 2012

socialwww.facebook.com/metronomy @metronomy www.myspace.com/metrenomy

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This ti me last week, I decided to get over myself and actually try and sti ck to all my New Year’s resoluti ons. Although I haven’t really been that great in the GET A BOY-FRIEND respect, I have been somewhat sati sfi ed with my progress in other areas. The third one was to try and see more gigs and get involved with more musical stuff . Having being successful at my att empts to start DJ-ing; I felt that I may as well give the other half ago.

On the promise that I would do some revision when I got back (this never quite materialised), I excitedly bought my ti cket to see Tribes at Rescue Rooms, a band that I sadly missed out on seeing on the NME Awards Tour. I rocked up fashionably late and stupidly missed the fi rst band. Sorry The Brute Chorus!

The second band on were Sharks. I hadn’t heard of them but it was defi nitely a good sign to see quite a few people in the crowd wearing their tshirts. They were defi nitely an energeti c band and their drummer got a real workout during their set.

The lead singer reminded me of a cross between Stefan Olsdal (the bassist of Placebo) and the mighty Brian Molko himself, not only in appearance but in movement. The highlight of their set was a song called Pati ent Spider - a spiky slice of punk just waiti ng to be picked up and sung insolently in bedrooms everywhere.

It came down to Tribes to send the night off in style. I had listened to their debut album - Baby repeatedly wishing that my day would come so that I could see them (I will see myself out with that joke). From past experience, I have found huge discrepancies between a band’s studio and live performance and I silently hoped that I wouldn’t be disappointed by Baby’s live incarna-ti on. But in the fl esh, Johnny and co were the charming, glam folk indie that I had pictured them to be.

Live Reviews

Sharks and TribesNatania Duhur

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I was pleased that they played their album plus additi onal material from the earlier EPs. One thing that did strike me at the gig was how many youngsters there were at the gig - maybe kids these days aren’t so bad aft er all.

Moving renditi ons of Himalaya, Alone or With Friends and Nightdriving (a parti cular highlight of mine considering the song’s lyrics) sti ll retained their sweet yet lo-fi garage sheen. The opening riff of We Were Children sent the crowd wild and held its own as Tribes’ anthem. The nostalgic feel of Walking In The Street and the scuzz-fi lled Whenever and Sappho kept the crowd happy. Coming Of Age reminisced of former ti mes and reminded me that it was not too late to do all the things that I wanted to do before I grow up. I left the gig all warm and scuzzy inside, and hung around outside hoping to catch a glimpse of the band. I didn’t but it was nonetheless bril-liant stuff .

It was also very nice to see Dog Is Dead in the crowd who were curati ng their weekly Pressure night at Stealth.

Live Reviews

http://www.myspace.com/sharks

http://www.facebook.com/sharksuk

@sharksband

http://www.myspace.com/tribesband

http://www.facebook.com/tribesband

@tribesband

wwwhttp://tribesband.com

social

Tribes new album “Baby” is out now at all good record stores and on Itunes

Sharks latest album “The joys of living 2008-2010” is available for purchase from record stores across the

country and on Itunes

Sti ll hot off the release of Given to the Wild, the album Britain’s indie press has been positi vely salivati ng over, The Maccabees are a band in fi ne form. Building from 2010’s more than enjoyable Wall of Arms, GTTW displays all the credenti als of a band who have found themselves, exhibiti ng a maturity which has brought commercial as well as criti cal success.

It is odd, then, to witness this grown-up group display their new sound to a Rock City audience who, owing to the 14+ age restricti on, look barely half the age of the band. The Maccabees now have a ti ght-rope to walk; they must please the teens screaming for hits while maintaining a well-culti vated aura to be remembered as a truly great act.

They start confi dently, as the intricate textures of ‘Feel to Follow’ are preceded by the shimmering ‘Child’. Any early nerves seem to be quickly banished as GTTW’s blend of accessibility and depth translates to a live setti ng with only minimal loss of clarity. The set gains momentum as it conti nues and older tracks are met with whoops from the packed venue. The star of The Maccabees’ show is no longer singer Orlando Weeks, whose vibrato-drenched tones were someti mes the band’s only disti nguishing feature when they fi rst arrived on the UK cir-cuit. With GTTW the vocals oft en melt back into the instrumentati on, and it is guitarist Felix White who provides the necessary impetus that has taken the Brighton-based quintet to new heights. On stage he is energeti c and forceful, feeling every note as his sprawling guitar melodies combine beauti fully with those of brother Hugo throughout the set, most impressively on ‘Forever I’ve Known’, a GTTW highlight that sounds as huge on record as it does live. ‘Pelican’, perhaps the least ambiti ous additi on to The Maccabees’ repertoire but vital to maintain-ing a sense of cohesion, precedes the band’s fi rst exit from the stage. It is slightly sped up from its recorded form, presumably to emphasise its punky edge, but sounds a litt le disjointed as a result. This isn’t visibly picked up on by the now largely delirious crowd who hop and sing along with vigour, rapturously demanding an encore. TV Advert hit ‘Toothpaste Kisses’ is, rather thankfully, left out of a set-list which ulti mately holds on to its eff ort and maturity. While The Maccabees’ performance doesn’t exude quite the same sense of accomplishment that their latest album does, it manages to crowd-please without sacrifi cing its sophisti cati on. The fi nale ‘We Grew Up at Midnight’ is far from fl awless - the bass is a litt le muddy and the vocals a litt le low. But, fortunately, the song is large enough in sound and sweet enough in melody to go down favourably regardless. Both the screaming, high-heel wielding front secti on of the crowd and the older, more reserved

rear go home decidedly impressed by Briti sh Alternati ve Rock’s new fl ag-bearers.

Live Reviews

MaccabeesTom Guerrero

socialwww.facebook.com/themaccabeesoffi cial@themaccabeeswww.myspace.com/themaccabees

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We were fortunate enough to manage to get our hands on ti ckets to see Totally Enormous Exti nct Dinosaurs, the moniker of Orlando Higginbott om, at the Bodega Social Club on Wednesday 8th February.

Higginbott om fuses mesmerising vocals with a range of musical genres, which could be loosely banded under ‘electro’ and ‘techno’ but defi es any real defi niti on, as Higginbott om samples range from Gaelic to Folk to Jungle. The set commenced with Household Goods, accompanied by psy-chedelic lighti ng, dazzling the crowd and creati ng an almost tangible anti cipati on about what could possibly be happening next. It was nothing short of a spectacle. Songs such as ‘Dream On’ were interspersed with an extravagant confetti canon and balloon display. At other moments, glitt er descended from the ceiling in ti me with the beat, encouraging a frenzied excitement amongst the crowd. On stage paraded two dancers in assorted wigs, adding yet another dimension to an almost overwhelmingly sensory performance. Certainly the visual aspect of the performance became the main focus of the event at ti mes, the dancers and the overpowering strobes teasing the audience into an dazed stupor. What’s more, with Higginbott om living up to his acts namesake appearing in a handmade dinosaur costume, it seemed in some way as though he was living out a childhood fan-tasy on stage, the entertainer at a kind of magic prehistoric party. The fantasti cal forest conti nued with Garden, a track popularized by the recent Nokia adverts, arguably his most recognisable song. Higginbott om chose to play this towards the end of the set, tantalising the audience and leaving them wondering what other delights were left in his toybox. And when it played the crowd roared into acti on, leaving no doubts about why the event was completely sold out. The music and the

atmosphere worked so perfectly together that we were not sure what we found the most impressive. And when the lights turned on at the somewhat premature hour of 10pm, it was clear to see that everyone was equally as amazed.

Live Reviews

T.E.E.DAmy Lodder and Celia Jones

www.facebook.com/totallyenor-mousextinctdinosaurs@TEEDinosaurswww.myspace.com/totallyenormousex-tinctdinosaurs

social

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Album ReviewsA round up of some of the hottest music releases this semester

The Shins – Port of Morrow‘Port of Morrow’, the follow up to 2007’s Grammy nominated album ‘Wincing the Night Away’, will surely not disappoint fans of alt-pop early noughti es bands.

The magical formula that made The Shins so popular a decade ago, has been recycled and reprocessed to produce yet another masterpiece. James Mercer, the only band member left from the original line-up, leads the iridescent indie tones and dulcet vocals whilst handling all songwriti ng and instrumental duti es. His decision to take 5 years to create ‘Port of Morrow’ has certainly paid off .

The fi rst single from the album, ‘Simple Song’, is already a hit due to its sing-a-long lyrics and poppy charm. Other possible hits on the album are, ‘September’ and ‘Bait and Switch’, songs which closely follow The Shins dreamy formula.

The album eff ortlessly falls into the easy-listening genre, and whilst on one hand this seems not to be a problem to those who will like the twinkling pleasant tunes; on the other hand ‘Port of Morrow’ wades soft ly into background noise, the songs are hard to diff erenti ate and not individually remembered. Personally I don’t fi nd this a problem, the fact that the songs are moulded so well together, is surely a sign of the album’s ti ghtness. Anyway, isn’t it someti mes nice to listen to something that is unassuming and doesn’t require your full att enti on?

So, if you decide to give this album a try, make sure to listen to it more than a couple of ti mes, as the initi al allure of the songs will grow with repeated listens.

Esther Moriarty

socialThe Shins latest album “Port of Morrow” is available on Itunes and in all record stores now

www.facebook.com/theshins

@TheShins

www.myspace.com/theshins

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‘I like the fact that you havn’t made a Dub-step record.’ The words of Annie Mac on her BBC radio 1 show, said to Lincoln Bar-rett a.k.a High Contrast, back in January.

He brought in a ‘special delivery’, namely ‘The Ag-ony and The Ecstasy’ featuring Selah Corbin, the ti tle track of his long awaited, and appropriately

named, album. He hesitated slightly if I remember rightly, no doubt either. Considering that the track he was about to reveal lies in no other genre than

Drum’n’Bass. I listen to the album, get half way through, and then I reach track 5, ‘The Only Way

There’ again featuring vocalist Selah Corbin. If there is a fl aw with this album, it is this track

High Contrast - The Agony & The Ecstacy

alone. It sits perfectly in the album, it follows along the spiritual mood of the record, with vo-cals that can only be described as beauti ful, yet with wobbles breaking up the solemn mood of the track, whether he intended it or not, High

Contrast has made a track here that will be labelled Dubstep.

Hospital Podcast 167 which featured High Contrast playing tracks from ‘The Agony and The Ecstasy’, defended the track immediately. Almost

as if he knew a potenti al backlash would hit if he didn’t, he claimed it sti ll contained the same

High Contrast musicality of the album yet was genre-less, because it didn’t follow the same

Drum’n’Bass sound. This track, forget whatever genre you want to throw it in, is pure bliss. It

seems to suit various diff erent moods.

Fans of ram records aren’t likely to convert to Hospital’s more liquid sound aft er this release, and devout followers of High Contrast will pos-

sibly fi nd fault with the track, maybe even more so when they hear ‘Not Waving, But Drown-

ing’ which pertains to more of the kick-snare Dubstep type.

While most will not have a problem with this, knowing that both tracks fi t perfectly into the album, there will undoubtedly be those haters out there who will coin any-thing below 140 bpm as Dubstep, and from there will say the arti st has sold out, or commercialised. Lincoln has done no such thing here. In the same way as the lyrics in most songs are of a sombre mood and the beats are uplift ing, these two tracks merely reverse this, keeping the album fresh and enjoyable.

Anyone who can incorporate painful and ecstati c feelings jointly into every track, plaster renaissance artwork on the cover and sti ll keep their original sound even in their fi ft h album, well make your own minds up but it’s sti ll getti ng played in my house non-stop at the moment.

Tom Jenkin

socialHigh Contrast’s album “The Agony & The Ecstacy” is available on Itunes and in all record stores now

www.facebook.com/highcontrastuk @linkcontrast www.myspace.com/highcontrastuk

album reviews

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album reviews

Raekwon – Unexpected Victory

Dat PiffAlmost half a decade since the gloomy ‘8 Diagrams,’ – Wu Tang’s last album – the members of the clan parted ways for an extended hiatus with no real clue when, or if, they would return. Raekwon put ‘Unex-

pected Victory’ up for free download on New Years day, amid specula-ti on from RZA, producer of 8 Diagrams, that the clan could be releas-ing a new album. It is 20 years since Wu-Tang established itself at the

forefront of Hip Hop, and the New Year will also see the release of ‘Only Built for Cuban Linx III.’

So called “The Chef,” Raekwon’s extravagance is subtle, but his lyrics speak volumes. I expected this release to be full of B side-esque tracks that wouldn’t quite fi t together. The extensive list of collaborati ng rap arti sts, ranging from JD Era to Styles P to Busta Rhymes, and producti on almost unique on every track, put that expectati on to bed.

The tracks resound with a fresh positi ve outlook, in parti cular, ‘Black Dust’ and ‘Goodfellas.’ Yet that classic sound sti ll exists, soulful undertones combined with heft y beats and plenty of cameos made this mix tape feel like one from a clan united, if only one of the members feature, just without the Shaolin and Bruce Lee skits. Raekwon executes his rhymes with precision ti ming, and the words sti ll fl ow free.

This mix tape doesn’t necessarily push the boundaries of hip-hop. Yet if the speculati on is true, let’s hope the collecti ve of this mix tape is translated to a Wu-Tang collecti ve on a new album. The likeli-hood of a new release, two decades on, is high. “The Chef” admits they are ‘scheming on some things.’ Raekwon sti cks to his talents here. It’s refreshing to hear some solid beats with rhyming bars put together like a puzzle, when other vets of the industry stay out of the studio.

Tom Jenkin

social“Unexpected Victory” by Raekwon is available now.

www.facebook.com/Raekwonmusic @Raekwon www.myspace.com/Raekwon

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Howler – America Give UpMinneapolis fi ve-piece Howler have been entrusted with the esteemed mantle as this year’s de-fi ning new guitar band, essenti ally inheriti ng the ti tle from The Vac-cines aft er their truly triumphant past 12 months.

Introducing themselves to the world by naming the fi rst track on their debut record America Give Up ‘Beach Sluts’, then, may be either the best or worst start towards following in Justi n Young and co.’s footsteps. But these consid-erati ons do not matt er one bit when they thrash into the kind of surf rock that made ‘Let’s Go Surfi ng’ so special the fi rst and hundredth ti me round. The terrifi c ‘This One’s Diff erent’ franti c and unforgiving atti tude comes alive with its driving riff s and crashing cymbals, whilst ‘Pythagorean Theorem’ seems to be soundtracking the band’s descent down a very steep and unrelenti ng hill. Take note, kids: this is how modern rock ‘n’ roll should be done.

Frontman Jordan Gatesmith’s drawl recalls Julian Casablancas’ more arresti ng and disti nguish-able vocals, lusti ng over what an idiot he’s been at one moment before proudly proclaiming the next that he wants to be “an American, just like you.” (‘America’) This youthful and care-free abandon colours the record as you might expect, given that the majority of the band are barely into their twenti es: all Justi n needs is “a drink and a guitar” (Wailing [Making Out]).

America Give Up shows litt le signs of waning in pace as ‘Told You Once’ explodes into life, which crescendos into a striking riff and handclaps sequence before segueing into a wall of distorti on: all the ingredients for a perfect indie rock number are all there. Then album highlight ‘Back of Your Neck’ announces itself with its infecti ous “oohs”, Jordan’s breathy vocals that’ll make girls swoon, and a chorus that makes you disti nctly aware that you’re listening to a future pop classic. They’ve even added a pause towards the end that leaves you salivati ng for more, which is then broken by that refrain, already proving to be one of the musical highlights of 2012.

Some conclusions then. Have Howler made a brilliant debut record? Yes. Have Howler passed the Vaccines hype-test? Yes. Will they be free to blaze their own trail and make 2012 theirs? Yes. Go forth, lads. The world’s yours for the taking.

“9/10”

Sam More

socialHowler’s album “America Give Up” is available on Itunes and Amazon now.

www.facebook.com/howlerband @howler_band www.myspace.com/howlerjams

album reviews

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Malt Cross16 st James Street, City Centre

(Just off the old Market Square)

Pub Quiz

Real AleGreat Food

Leaf Tea & Coffee

A Victorian Music Hall

Nottingham’s best kept secret

www.maltcross.com

Every Monday

Every tuesday

- £2 per Team to enter- Prize is a Free round for team

- Teams no bigger than 6

- Free Entry- Bands start from around 8pm

- See website for listings

- Changing seasonally- All food is made fresh

- Yummy cakes- Loose leaf Tea

- Our own blend of Coffee

Live Bands

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