On the eve of the release of their third album, Off with their Heads, local Bradford boys, The Kaiser Chiefs return to Leeds for a homecoming show. Opening straight away with, ‘Everything is Average Nowadays’, which got the crowd going as singer Ricky Wilson leant towards a crowd member, taking a scarf. Throughout the song he continued to don this Leeds United scarf, giving the crowd (of Leeds fans no doubt) a chance to cheer even louder. It came as quite a surprise as Wilson came out and didn’t have a completely red face, due to being drunk like he normally is. Instead he came out in a sharp suit, which he then proceeded to shed different articles of during the set.
The band play some of the classics, including; ‘Heat Dies Down’ and ‘Born to be a Dancer’. Then, as if by surprise played a new track entitled, ‘Can’t Say What I Mean’. Opened of course by Wilson’s dry wit, exclaiming to the crowd, “Just remember, you’re not gonna be able to do this tomorrow”.
As expected, the Kaisers then break out with ‘Ruby’, getting the crowd singing along. Making you wonder whether the band have become as annoyed by this as the rest of the world has.
Next up, who should show is face, but Wakefield local and Cribs singer, Ryan Jarman, giving support on ‘Modern Way’. When actually he was carrying Wilson. Screaming his lungs up while Wilson just stands around looking important...to no avail. Then who should appear but the man who, in some people’s opinion, has cursed many a cover of NME, Mark Ronson. Making his ‘contribution’ to the show by bashfully whacking a tambourine.
Yet again, it wouldn’t be a Kaiser Chiefs show without, ‘I Predict a Riot’. Once again this was expected and of course was the most well received song by the crowd. During which Wilson, showman has he is, attempted to climb the scaffolding at the side of the stage, but fails miserably. Come on Ricky, you’re not Eddie Vedder, stop trying. Followed by the highlight of the show, where Nick Hodgson played a frankly startling drum solo, which wasn’t expected from a drummer with such a reserved style.
Playing out with the title track off their second album, Yours Truly, Angry Mob. This gave a chance for the crowd to calm down somewhat, instead of keeping the current pace they had been. But I’ve only got one thing to say about that song...We are we are the angry mob, we like what we like, and it’s certainly not the Kaiser Chiefs.
Finally, being welcomed back on stage for the encore. The Kaisers of course played out with that mind numbing song, ‘Oh my God’. My sentiment exactly. However, if not for Wilson’s over the top showmanship, or lack of it. The crowd of adoring fans must have enjoyed it, otherwise...why were they cheering?
Saturday, 27 March 2010
The Dillinger Escape Plan - Live at Camden Barfly
So, after the two something hours waiting outside, the doors finally open, as the 300 fans stampede their way into the upstairs of the Camden Barfly. After nearly 5 years since DEP have toured the UK, this was one of the most highly anticipated shows of the year.
Cutting the tension like a hatchet to the skull, the band burst out with the aneurysm inducing ‘Panasonic Youth’, straight away causing the crowd to mesh into one. The band then Follow up shortly with ‘Milk Lizard’ as crowd begin to fly around like rag dolls, fans without a care in the world for their fellow spectators. The pace continued throughout the show, with appearances from the Miss Machine album and well as Ire Works. ‘Black Bubblegum’ seems to go down well, as the fans drown out singer Greg Puciato. Who then proceeds to throw himself into the outstretched arms of the awaiting crowd, giving a chance for those young hopefuls to sing, or scream along. With some minor expectation for Unretrofied, many fans felt some disappointment when they didn’t hear those first notes of the piano. Which was soon rushed away as a sea of people begin to pull each other apart as the band break out with ‘43% Burnt’, confusing minds and neck muscles. As guitarist Jeff Tuttle barges his way through crowd, making his way towards the bar, not without knocking a few people’s egos first of course. Then he proceeds to play on top of the bar, without as much as a sorry to the timid bar staff. The expectation rose as the cataclysmic ‘Farewell Mona Lisa’ found its way into the set list. A single of an album not even released, still had everyone singing along by the end. Being thanked by Greg, the crowd look up in awe, fists pumping the air. “As long as you’re here, I don’t care if you give 2 sh*ts, 1 sh*t, half a sh*t. You’re here, that’s what counts.”
Things begin to cool down as the Tears for Fears song, ‘Head over Heels’ made an unexpected arrival, giving the crowd a chance for a break, maybe a pint.
Overall, Greg and the guys had just given a mind blowing experience, making you wonder what the evening show would bring to the table. Setting their reputation in stone as one of the biggest bands of the moment, the summer of festivals is in high anticipation. With a tour to be announced in September, and the rumour of Download Festival. It will be an opportunity that many fans will not want to miss.
Cutting the tension like a hatchet to the skull, the band burst out with the aneurysm inducing ‘Panasonic Youth’, straight away causing the crowd to mesh into one. The band then Follow up shortly with ‘Milk Lizard’ as crowd begin to fly around like rag dolls, fans without a care in the world for their fellow spectators. The pace continued throughout the show, with appearances from the Miss Machine album and well as Ire Works. ‘Black Bubblegum’ seems to go down well, as the fans drown out singer Greg Puciato. Who then proceeds to throw himself into the outstretched arms of the awaiting crowd, giving a chance for those young hopefuls to sing, or scream along. With some minor expectation for Unretrofied, many fans felt some disappointment when they didn’t hear those first notes of the piano. Which was soon rushed away as a sea of people begin to pull each other apart as the band break out with ‘43% Burnt’, confusing minds and neck muscles. As guitarist Jeff Tuttle barges his way through crowd, making his way towards the bar, not without knocking a few people’s egos first of course. Then he proceeds to play on top of the bar, without as much as a sorry to the timid bar staff. The expectation rose as the cataclysmic ‘Farewell Mona Lisa’ found its way into the set list. A single of an album not even released, still had everyone singing along by the end. Being thanked by Greg, the crowd look up in awe, fists pumping the air. “As long as you’re here, I don’t care if you give 2 sh*ts, 1 sh*t, half a sh*t. You’re here, that’s what counts.”
Things begin to cool down as the Tears for Fears song, ‘Head over Heels’ made an unexpected arrival, giving the crowd a chance for a break, maybe a pint.
Overall, Greg and the guys had just given a mind blowing experience, making you wonder what the evening show would bring to the table. Setting their reputation in stone as one of the biggest bands of the moment, the summer of festivals is in high anticipation. With a tour to be announced in September, and the rumour of Download Festival. It will be an opportunity that many fans will not want to miss.
Weezer - (If your wondering if I want you to) I want you to
After the frankly awful last album, The Red Album; Rivers, Pat, Scott and Brian return to form with this new single, featured on the seventh studio album Raditute. Bringing back that age old Weezer sound found on The Green album, in songs like ‘Crab’ and ‘Photograph’. With those classic lyrics Rivers Cuomo always brings to the table that as fans will know don’t always make much sense, but always have that hook. Much like the opening verse, “You told me stories about your chickadees, they didn’t like BB guns or stupid archery, the jumbo lifeguard; he let them use the pool all day for free”. An infectious track that will have you listening to it about 30 times in one day before you get sick of it. Unlike previous albums, the band is no longer relying on just Cuomo for song writing, opening doors for different lyrics and songs.
As Gods - At The Joiners
This miserable Monday night opened with the frankly average SiverLith, however, to be fair to the band they were opening a small club show on a Monday night, playing to pretty much the other bands and their girlfriends, so “Not a bad turn out”, says singer Ryan Perks. Playing a barrage of their own tracks like, ‘Awakening’ and ‘Good Night’s Sleep’, as well as a few covers including Green Day’s ‘Basket Case’ and ‘Time is Running Out’ by Muse. A brave effort from the southern quintet, but it was nothing to write home about.
Next up on the bill was Ravenous, a local Southampton metal group bring their sound back to the Joiners. These riff machines bring everything about metal needed. Slayer riffs, Pantera solos, and not forgetting those Rob Flynn vocals. Similar to SilverLith, Ravenous played a few of their own including the death defining ‘Deathstiny’ and ‘Reverse’, as well as a cover of Machine Heads ‘Davidian’, which is not an easy feet to pull off. But they managed it, and with flying colours no less.
However, these bands aren’t who (we at BLAG) were looking. Just arriving by the skin of their teeth, As Gods clamber onto stage. Exploding off the stage with the title track off their fourth coming debut album, The Journeyman, set for release sometime this year, but the band have not yet commented on the actual date. As vocalist Howie belts out with that first scream, he beats his chest in an attempt to achieve almost forced vibrato, scaring the abundance of teenage girls at the front. Then leading into ‘Faith’, the latest single released on their MySpace. This gave an almost Killswitch Engage degree of comedy as Howie, yet again, proceeds to play air guitar on his microphone while kneeling lovingly at the feet of guitarist Jonny.
Now as you know metal isn't metal unless it has some vague aura of mysticism to. Much like the following song, ‘Revenge of the Kraken’, which for all those who don’t know, “The Kraken is a giant monster that lives in the sea that drags ships down” according to Howie. This was by far the heaviest track in the set, brutalising neck muscles across the crowd. Lastly of course, As Gods finished with the demoralising culmination of the album, ‘Frozen’, which, as expected went down the best...even getting a small singing section from a few devoted fans at the stage front. As Gods are now set for more shows in the near future, including the Old Fat Cat in Southampton on March 17th. Now this gig is free, so any metal fans around that night, should definitely take a look at this live sensation that is not to be missed.
Next up on the bill was Ravenous, a local Southampton metal group bring their sound back to the Joiners. These riff machines bring everything about metal needed. Slayer riffs, Pantera solos, and not forgetting those Rob Flynn vocals. Similar to SilverLith, Ravenous played a few of their own including the death defining ‘Deathstiny’ and ‘Reverse’, as well as a cover of Machine Heads ‘Davidian’, which is not an easy feet to pull off. But they managed it, and with flying colours no less.
However, these bands aren’t who (we at BLAG) were looking. Just arriving by the skin of their teeth, As Gods clamber onto stage. Exploding off the stage with the title track off their fourth coming debut album, The Journeyman, set for release sometime this year, but the band have not yet commented on the actual date. As vocalist Howie belts out with that first scream, he beats his chest in an attempt to achieve almost forced vibrato, scaring the abundance of teenage girls at the front. Then leading into ‘Faith’, the latest single released on their MySpace. This gave an almost Killswitch Engage degree of comedy as Howie, yet again, proceeds to play air guitar on his microphone while kneeling lovingly at the feet of guitarist Jonny.
Now as you know metal isn't metal unless it has some vague aura of mysticism to. Much like the following song, ‘Revenge of the Kraken’, which for all those who don’t know, “The Kraken is a giant monster that lives in the sea that drags ships down” according to Howie. This was by far the heaviest track in the set, brutalising neck muscles across the crowd. Lastly of course, As Gods finished with the demoralising culmination of the album, ‘Frozen’, which, as expected went down the best...even getting a small singing section from a few devoted fans at the stage front. As Gods are now set for more shows in the near future, including the Old Fat Cat in Southampton on March 17th. Now this gig is free, so any metal fans around that night, should definitely take a look at this live sensation that is not to be missed.
Tuesday, 23 March 2010
The Research.
Researching one of my main pieces came as quite a surprise really. When I found out that Carl Palmer was coming in to the University to talk about his life and career, I instantly thought that would be an excellent choice for a feature on how musicians break off from the bands to persue solo careers on other musical mediums. So, it was fairly easy to get the interview, all it took was some simple networking. I had found out when and where Carl was going to be through Martin James. I went along to the talk he was giving, armed with nothing but a dictaphone and managed to catch Palmer just before he left, fighting my way through his publisists. Already knowning about some of the acts he had been a part of, like Emerson Lake and Palmer, it wasn't hard to compile questions to ask him. Although I did research some of the work and shows he had planned for the future, as well as finding out some of those things through the interview itself.
When it cme to building my portfolio, I decided not to put this into my magazine design. Initially I just thought it was to large of a piece to fit in the space we were given, which was very true. But the I took the reader demograhic into account. I realised that most of the people who would be reading BLAG wouldn't have any idea who Carl Palmer is, apart from maybe a select few students on the performace course. Thats how I came to choose the 'Do they know they're local bands?' article. I felt it was more relevent to the readers of the magazine. It was a topic I hoped the readers would understand more clearly.
Considering the age group of the readers and of the bands envolved in the project, I thought it would appeal to students at the University. Given the students I had asked about their music taste, the conclusion I came to was a variation of rock and metal. So once I found this out, I knew, because the bands envolved all played similar genres of music, I would at least have some readers.
Magazines like NME and Mojo reflect on things like subcultures and genre. They have features and articles aimed at specific age groups and markets. For Example, NME readers are mainly teenage males, who really just follow the masses like sheep, and listen to whatever NME tells them to do. Which they do quite well. Mojo on the other hand is aimed more at the older demographic, the Dad generation. Featuring the 'heritage acts'. News on comebacks of older bands, with much bigger, in depth articles that are more likely to be read by adults. Most teens or students skim through magazine like NME, unless there is a specifc article they're interested in, but I wouldn't hold my breath. I think BLAG is quite similar in that regard. The target market for it is students. It needs to have writing that will draw in its readers. Which I hope, given my work, has done the job. Also, because of the content (A cover of that Christmas hit, 'Do they know it's Christmas') and the time of year, I thought it tied in nicely. Gender wise, my articles for example are, what I would say, non-gender specific. Others on the other hand may have done something different. Typically with University, it's a very diverse market.
When it cme to building my portfolio, I decided not to put this into my magazine design. Initially I just thought it was to large of a piece to fit in the space we were given, which was very true. But the I took the reader demograhic into account. I realised that most of the people who would be reading BLAG wouldn't have any idea who Carl Palmer is, apart from maybe a select few students on the performace course. Thats how I came to choose the 'Do they know they're local bands?' article. I felt it was more relevent to the readers of the magazine. It was a topic I hoped the readers would understand more clearly.
Considering the age group of the readers and of the bands envolved in the project, I thought it would appeal to students at the University. Given the students I had asked about their music taste, the conclusion I came to was a variation of rock and metal. So once I found this out, I knew, because the bands envolved all played similar genres of music, I would at least have some readers.
Magazines like NME and Mojo reflect on things like subcultures and genre. They have features and articles aimed at specific age groups and markets. For Example, NME readers are mainly teenage males, who really just follow the masses like sheep, and listen to whatever NME tells them to do. Which they do quite well. Mojo on the other hand is aimed more at the older demographic, the Dad generation. Featuring the 'heritage acts'. News on comebacks of older bands, with much bigger, in depth articles that are more likely to be read by adults. Most teens or students skim through magazine like NME, unless there is a specifc article they're interested in, but I wouldn't hold my breath. I think BLAG is quite similar in that regard. The target market for it is students. It needs to have writing that will draw in its readers. Which I hope, given my work, has done the job. Also, because of the content (A cover of that Christmas hit, 'Do they know it's Christmas') and the time of year, I thought it tied in nicely. Gender wise, my articles for example are, what I would say, non-gender specific. Others on the other hand may have done something different. Typically with University, it's a very diverse market.
Tuesday, 16 March 2010
Is Blogging Journalism?
First reaction...NO. For many years I've have been a purist to print journalism. There's always been something about picking up a magazine and reading it. It's just something to have that you've bought that's yours to keep. Saves so much trouble have to read off the screen. Plus you don't have to worry about so many adverts, although some. Plus, having written my own fanzine and printed and distributed myself, there's always that sense of self satisfaction you get from it, unlike in a blog like this one.
Print and Online - The difference
Mainly with in print journalism, you get just that. A finished product, without all mistakes (for the most part) and with a neat little bow around it. Online journalism on the other hand, before you even get to read what you're trying to read You get hit by a spate of advertisements that you don't really care about. As well as the numerous errors you may find within the writing.
How has proofing and Sub-editing changed my awareness?
A more in depth look at proofing and sub-editing has given me a chance to really look at my writing in a way I could almost never be bothered to in the past. Like I said, I never really looked at my paragraphing properly before, and it would probably explain the numerous problems I've encountered. Typos for example would have come a lot more few and far between if I had checked them ALL before I printed and distributed the fanzine and not have had a barrage of people coming up to me and saying, "Hey Ben, you know there's a word missing?", or "Ben, what's up with this, its missing like a sentence". It just saves hassle.
What have I learned?
Erm, what have I learned from doing these past two assignments. Well, initially when I came into this course, I only had a loose idea of what I was doing in regards to journalism. I had my rough ideas from doing my own fanzine during college, but had no concept of the 'ins and outs', the real details. I think so far I've now learned how to write a review properly and how to list all the details needed for them. For example I've learned NOT to put myself in the article, writing in the first person. Which I had a tendency to do a lot in my previous works. Also, with regards to live reviews, I've learnt that I need to list has much about the show as possible while I'm there. Like, how I should take notice of the bands actions, how they perform on stage, or what body language they show to the crowd. Or how should take notice of how the crowd reacts to each song, not just the whole show in general. Also, it's key to write up my notes as soon as humanly possible after the gig, either straight after, or at least in the morning while I have a fresh head.
Recently I have now discovered how to proof read in-depth, instead of just running my eyes over the, looking for punctuation or spelling mistakes, I've now also learnt to pick out whether paragraphs are correct, if sentences are too long...or too short. But I think one of the most important thinks I've achieved is getting over that initial hump of interviewing. Originally having a pretty bleak outlook on interviews, never really wanting to do them. Whether it was from nerves or just from pure laziness. I think now I'm at a better place doing them. Now all I've gotta do is improve my style, and I'm sorted.
Tuesday, 9 February 2010
Alive or Just Breathing
Killswitch Engage –Alive or Just Breathing (Roadrunner)
Released in 2003, the second album recorded by Killswitch has now set it’s place I the American metal market. This seminal album came as somewhat of a turning point for the band, changing their line-up from a four piece to a five. While at the same time being produced by now guitarist and resistant clown Adam Dutkiewicz. Sadly however, this was the last album vocalist Jesse Leech sang on, which when he actually left, nearly forced the group to disband.
When listening to the almost god like voice of Leech, you can hear the pain and emotion that comes from his own life experiences. In My Last Serenade, he wrote about the trouble he was feeling during the first tour of the album, due to just getting married a few months before. Much of Leech’s words express how he became tired of the negativity in the world. Songs like Vide Infra explains that people shouldn’t be ridiculed, despite gender, colour or creed. This is most significant in the lyrics, “We are all flesh and blood, I am not afraid to speak my mind. No matter the consequences, stay true to yourself. Through the humble eyes of a child we will realise true equality…”
Other songs like Fixation on the Darkness used ideas of people have both darkness and light within them, and in order to survive you must strike a balance between.
After the re-release of the album in 2005, I compared the differences between Leech’s vocal style and that of former Blood Has Been Shed singer Howard Jones. This had become a compelling argument between many Killswitch fans across the world. I myself can’t say who is better; both bring something to the table, and are equally prevalent in their roles.
As you may or may not know about Killswitch, they were made up from many former bands that all played together in the early ‘90s as part of the local metal/hardcore scene in Massachusetts. Much of Killswitch’s influence came from the different bands they had previously played in, as well as bands that also rose from the ashes of bands like; Overcast, Aftershock, Red Tide, Blood Has Been Shed and of course Shadows Fall.
In my own opinion, this has now become not only one of the key albums in my collection, but a key album in the whole progression of Metal itself. Using the God like voice of leech, Mike D’Antonio holding down the bass, the almost comedic guitar work of Dutkiewicz and Stroetzel and not forgetting the nonchalant, yet explosive drumming of Justin Foley, a.k.a. J Flow. Even though Leech is no longer with the band, Jones now comfortably fills his shoes, and he has left is stamp on heavy metal music.
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