Review

Turn & Run
Blossom
Rating: 4/5

From the grim, damp corners of a “dead” city famed for call centres and abandoned factories emerged melodic hardcore outfit Turn & Run from Peterborough with a vision, roughly two years ago. Heightened through old, local fame through acts such as metalcore kings Khalo, and the dark Hellion (not to be confused with the 80s heavy metal bunch), Turn & Run took the support and respect they deservedly spent years earning and combined it with ambition found within pages from new chapters, and with their tool belts fully equipped, laid the blueprints out, and set their sights on rebuilding.

Now, I say “dead” city with my tongue in my cheek. I suppose having lived here for a vast portion of my life, I’m aware of the social hubbub – and many echo the words of The Legacy, “I want out!” (‘Ghost Town’, Solitude, 2006)… But those who wish to make their house a home; those who swap cement for love to keep their bricks together end up establishing a strong, defiant and rather unique scene. However, with that, comes a sense of ego and esotericism which is hard to break into, but even harder to break out of and create a name for one outside of the Peterborough walls. Just ask frontman Gardner about his previous attempt with a similar act known as Virtues when they played out of the city.

The scene itself, in my eyes at the very least, has lost its appeal and ‘pop’, and began to fizzle out… In a city full of crap bands, it’s hard to emerge or grab the attention of local residents, let alone those far and wide. This carbonates to a lack of attendance at shows and inevitably, a scene loses its power, its image, just everything really. I would say that since 2009 the vibe has dissolved dramatically… Digressing from the point, “dead” seemed to fuel the band – and spur them on to something greater than what they previously attained as simple teenagers: happy to play in front of their friends, grow their hair long to put barbers out of business and simply grow up whilst having fun. That alone is enough to admire the ambition of Turn & Run: connoisseurs of resuscitation.

“We started the band purely because we wanted to get all our closest friends together ‘cause we were done with having people in a band who weren't our best friends. So Gez jumped on the drums, and Karl learnt guitar. And we thought right, we're gonna’ write what we want to hear. So that comes on to Blossom”

- James Gardner

Influenced through acts such as Modern Life is War, Verse and more recently Defeater (I’m under the impression their name came from Defeater’s line “I ain't no coward, I don’t turn and run” (‘Red, White, and Blues’, Lost Ground, 2009)), it would appear the five-piece utilised the gap found within the market that the likes of More than Life (for example) lacked, and inevitably left. In comes Turn & Run contracted for the rebuild. Thus, Blossom, their first release… blossomed.

The record begins with a rally cry of twisting guitar chords and a roll of Harrison’s drums; a split second of deadly silence following by a crash. Opening track ‘Blossom’ is chaotic from the get-go – it’s motivating and enthusiastic, grabbing the attention of the listener from the start. The benefit of this is I always feel that this split second of the ‘Hey! Look at me!’ is rare at the start of a record, and I find myself drifting off and pottering about with my daily routine or internet browsing, not paying attention to the music, but Blossom is different, and ‘Blossom’ is the perfect opener. It’s like the trailer to the blockbuster. All the good bits are showcased: the emotion, the viciousness, the raw power, and the beautiful little licks – the whole package; the listener knows from then on in what to expect, and to be excited. It’s the best way to present to the world who they are and what they are about, really – like a wrestler and his theme tune: we remember Hulk Hogan was a good guy, all around American; we knew Stone Cold was a total badass; and we knew Billy & Chuck were… Umm… Y’know… All through their entrance music.

Originally entitled as ‘Forgetting’ during the demo stages last year, it’s nice to see (and know) that this track evolved over time, that the band didn’t just settle with the first outcome and went back to revise something that was already structurally incredibly sound. I remember when I, at a later show, heard the revised rendition; I instantly noticed that the opening lyrics had altered and the music was slightly different, I almost felt disheartened because I grew to becoming such a strong supporter of the song, and felt that demo held such potential for their emergence – but evidentially the modifications were not in vain, and the final product serves incredibly well.

Within the song, I am in love with the line “Don’t let me walk away!” – it’s howled out: a flawless, stand out little segment. It defines the song, along with its meaning, and I’m glad they did not stray from this ideal, or wording. ‘Blossom’ also sees McIntyre display his experienced skill and patience through a little guitar flare, with a modest and calculated filler that catches the listener off guard before the final, catchy explosion…

Hilbert hammers on the guitar as we are introduced to track two, ‘Goodbyes’, where one finds themselves nodding along without even realising it; its grove instantly hooks you in. It’s an emotional, heart-felt one about a friend no longer with them: “You’ll always be a friend to me”. It’s the heavy set filler which gives them a second to breathe yet leave the audience gawping and the sheer power. It’s a great follow up track and in intense listen – more so backs them up, coupled with backing vocals that stun you followed by complicated and quick witted lines and a traditional hardcore segment within truly capturing the band’s youth: “Of skateboards, and guitars, and basketball courts” – we are welcomed into their world and allowed to share their up-bringing.

‘Misled Youth’ follows, now with tones that sound far sharper recorded than live– I recognised the song itself instantly. Here you can tell Falco really holds the group together – his dominant bass masks the song from start to finish and Harrison accompanies in rolling the piece together. I found myself riding the bus time in what seemed like forever the other day, and blasted this track through my headphones. I found it impossible to not love his drumming, especially nearing the end, and found my feet tapping on - enjoy it ten fold. It’s almost like part two of ‘Goodbyes’ in its style of music and the way it is structured; the tracks blend well yet are distinct in their own rights. ‘Misled Youth’ comes across as more bitter... I’ve always liked the concept of writing a song and addressing it to oneself – perhaps this is something Gardner is doing here rather than lashing out at others, demanding himself to push himself further and past modern day problems (lines like “I am a project of this generation: no job, no hope, no salvation”, “We’re the seeds that you sow [...] it doesn't seem to be working”, “Being educated, yet you fail to move” suggest this idea), which naturally reflects back onto the audience as an inspiring song and incredibly creative... So then can “employ a new tactic”.

Beginning with a crescendo of haunting, spiralling vocals, ‘Absence’ is a bit of a powerhouse; a forceful song; a wrecking ball. I’m not too sure if this is a song that covers the story of a broken home, or close relationship, but the lyrics are sharp – as sharp as the vocals are angry. One can literally feel the hate through Gardner’s tone; he is displaying his rough voice within this one and it’s very striking. The song itself can almost be broken down into three sections: one, the wrecking ball; two, this broken down, elegant, melodic segment where the guitars almost resemble harps as they glide through the seconds in harmony – it’s a massive juxtaposition from part one; and three, the mess from the wrecking ball, an absolute emotional eruption that’s topped off by a very classy American post-hardcore-eqsue riff that exploits and empowers the band’s diversity; really capitalising on the term ‘melodic’.

Normally, I tend to turn my nose up at ‘easy’ lyrics; colloquial lines that appear thrown in for the frontman to get a cheap swear word in, showing their poor penmanship or just generic drivel they dribble through the microphone in hope to stick two finger sup at an ex-girlfriend. However, ‘Absence’ blurts out in distain “You f***ed up” – and this I really like. In fact, I absolutely relish it. It’s so fitting, its pitch is perfect, and its pace is precise. I’ve never known of a negative and harsh comment to leave such an impression on me. It’s peerless.

Gardner has discovered the key to his heart, which is made apparent from the start. It is undeniably clear that he has demons, and that he has had heart ache, and perhaps it’s uncomfortable for him to share such feelings, but for the sake of art and poetry the lyrics are almost unequalled with the UK hardcore scene; there was a requisite for this record to emerge. With all respect, it’s homage to the old 90s emo songs, marking Blossom as a greater and far more interesting listen than most releases in 2013.

The concluding track is entitled ‘Not in Love’, which starts off like the perfect finish – it’s epic, it builds up and it’s hopeful. Hilbert is an architect of aggression here, again smashing away with the rhythm, most notably in the hang-banging second verse. The song appears to set the standard for the future – one can picture the words ‘To be continued...’ suddenly flashing up as the song comes to an end; from the name of the song, we instantly relate to the lyrics “I’m on my own”, but grow to accept that there is a silver lining to this dark cloud; that the storm will pass for Gardner cries “In the end, I’ll keep pushing”, and thereafter he keeps repeating that he will ‘push’, drilling in that there is more to come. With crazy little riffs embedded between, so subtly entwined, to be followed by an eerie ending; odd guitar twangs that suddenly stop and fade out, the listener, or at least myself, am left hungry like the (lone)wolf. ‘Not in Love’ finishes the superlative record off and truly indicates it is a fantastic, enjoyable and moreish listen.

(Shall we say ‘the defiant’?) Turn & Run are James Gardner on vocals, Gerry Harrison on drums, Karl Hilbert and Dan McIntyre on guitar, and Jacob Falco on bass guitar: a standard five-piece line-up with tremendous amounts of talent and drive – equal parts to complete such a stand out record. This is, of course, matched by their live performance, reminiscent of Glassjaw. Gardner creates chaos and dances with the stage, whilst the other stand dominant like barricades, defending their castle. This can be depicted from the music – whilst the musical structure is there, Gardner swirls around with fury, dipping in and out of the songs, adding colour and chaos.

The name of the record itself, Blossom, must derive from their intention - it emerges them to us, and as time progresses, we are listening to them bloom/unfold: “We named it Blossom cause it's our first record and it's a good inclination to what sorta’ direction we're going in. Whether it'll be the more along the melodic path or heavier direction... But it's all there” – with the image of a flower in mind, there is simply only the bud at this stage. No one, not even one single band member, can be certain of how this flower will bloom. It’s a beautiful metaphor, and a powerful one all the same.

Now, for an explanation after such praise. I have rated this record 4/5 based on its place in the music market, as it can only reach such a height within the hardcore scene, specifically within the UK where it will be caged in (pun intended) – this is not to discourage listening to a wonderfully brutal showcase, but to highlight and document the starting point of something new. The scene itself neglects progress and development; shuns away ambition for the strange, so in order to make an impact (and building on earlier statements) the work will be boxed in for now – they need to be accepted and hit the ground running. It just truly helps they are running with such flare.

Hindering the record, in my opinion, is the mixing; it’s not polished off. The mixing is a strange affair – the record is left somewhat hissy and static at times; gritty; visceral; raw. I’m not sure if it was rushed or a nod to the chaotic hardcore outfits that helped maintain the scene. “We recorded it with Neil Kennedy at the Ranch production house, in Southampton. Same producer as the Tu Amore guys had, amongst others”, Gardner adds. Nonetheless, searching for the silver lining, I suppose it adds a traditional quality to the record – a down to earth approached, more concerned with its content than final product for the pleasure-seeking ears.

And, in a discussion with a former band mate of Gardner’s, who himself was part of hardcore hopefuls Permanence, agreed with me on this bold move, and who also commented on the odd circumstances within the hardcore scene when playing an out of town show, mentioned previously.

I think the key to their success this time is that they are doing ‘this’ for them, and having fun along the way, whilst confirming to the set guidelines the scene demands. The focus has been fully channelled on the music. Working menial and minimal-wage jobs, not caught up in producing Turn & Run windbreakers or snapbacks, let alone t-shirts, Blossom is passion incarnate, focused in all the right places, and for what it’s worth, it’s worth every second.

Blossom will aid with putting Peterborough on the map, and the point I’m trying to raise is that this record is only the beginning: “We've set ourselves up for a pretty cool follow up record”. One can only wait eagerly in anticipation already for their next release, guaranteed to be tinged with more development and experiments; with this a strong foundation has been constructed. Next: the home. “As for how [Blossom] ended up, we're f***ing stoked on it. We just wanna’ get out on the road now and show people what we got”.

To grab a copy of the record yourself, you can head over to their label’s official webstore and purchase a copy: click here. Or visit their Facebook to listen to the track ‘Absence’: click here.

I hope that Valentine’s Day wasn’t too gut-wrenching for you. After January, which I seem to class as the worst month of the year, winter depression really takes hold of myself, like a mild seasonal affective disorder of sorts. I believe most people suffer from it to some extent, even to the point where snow simply becomes a bore and tarnishes a mood; making people more uncomfortable at their core than in previous months. But anyway, Valentine’s Day is all about love, sharing, giving, happiness and a chance to express your gratitude to a loved one, that, or neck a bottle of Pernod alone in bed and resent everything.

Doing the latter, I tried to find the silver lining and take some solace in all of this, and think about songs that remind me of girls. I came up with this idea a few months back, either hoping over time I would think of more girls and more songs, or have the chance to meet new people to help bulk out this column, but sadly, unless someone has a major impact on my life, I try not to associate things with them; things I like, songs I like, etc.

For example, I had a girlfriend that idolised Amy Winehouse, but not being mucho of a wineo myself, I can’t really talk about it, or her. I genuinely have nothing to say. Nor was I listening to Winehouse at all during our relationship. It was only after I decided to give her a try, and that was because Nas appeared to do a song with her on Lioness. It was something I related to her, but not something that reminds me of her – that I can listen to and be drawn to that moment of my life... If that makes sense...

I started to heavily get into Childish Gambino roughly this time last year after my most recent break-up. I was always a fan of Donald Glover since watching Community, and was aware he made music, gave it a few tries, but it never really spoke to me. I had ‘Freaks and Geeks’ on my iPhone, largely because of my love for the television show (!), but that was the extent of our relationship. Camp was released and, as it was something new, I started to play it on repeat in hope this would open up some doors. As the weeks went by, I took a strong liking to ‘Kids (Keeps Up)’ and ‘Heartbeat’; they became my favourite songs from the record – musically, lyrically, and how they made me feel.

Come March, I began to see someone. Or I thought I was seeing someone. To this day, I don’t know. It was all very confusing, and I think that’s why ‘Heartbeat’ began to play such significance. I don’t mind writing this, because I know she won’t read it; I believe part of her charm was that she didn’t care, and she was so detached. Nonetheless, out of respect, I won’t say her name.

The lyrics of ‘Heartbeat’ began to echo my thoughts, intentions, or rather desires – what I wanted. The lust, the slight of upper-handness, the adult real life issues. I wanted to be desired and a man who seemed to have power of some sorts – be it over a woman, or elsewhere that attracted women. Instead, I found myself simply left with the spite and resentment that the song also discusses. Despite ‘dates’ to the cinema, dinner or films round hers, meeting up for coffee, even on my birthday, nothing really coalesced; suggestive tweets, days without texting and consistent confrontation left me dumb-founded and utterly hopeless; hopelessly lost and confused. The most notable and relatable line in the song for me became the final words uttered with annoyance and hate: “Are we dating? Are we f***ing? Are we best friends? Are we something? In between that?” (‘Heartbeat’, Camp, 2011). After nearly a year of on-off, hot-cold phases, I gave up trying and called it a day.

A person who had more importance in my life, and a much better song that meant more to me came about in 2010, despite the song itself being released in 2008, but I wasn’t aware of it back then... Or her.

The Honorary Title, or rather their front man, Jarrod Gorbel, covered Alicia Keys’ ‘No One’ for fun, and the video was put up on YouTube by their friend, which ended up receiving just under one-hundred-thousand hits and critical appraisal. The style was rustic, sombre, splendid and sweet. Gorbel’s rendition and alterations ended up (to me, anyway) enhancing the song and allowed the lyrics to stand out more and have more of the sentimental impact I believe the songwriter initially intended. It’s stripped down and not overdone or glamorous like the original. The song made me feel good, but even more knowing that I began to associate it with falling in love for the first time.

The song ended up being put on the Tour EP, the final record the band put out together, before Gorbel set off to pursue a solo career. A direct audio rip from the video, which let the track remain with its spontaneous charm and ‘realness’; nothing was forced and it was very heart-felt. This song reminds me of my then girlfriend and never ceases to make me smile and think back to a specific feeling, along with the moment where it felt like everything was falling into place.

It initially brings me back to the first day she and I spent together properly – that was the trigger. I had cancelled on her about three times because of my terrible, terrible sleeping pattern (I’m sure there was another reason too) and we finally re-arranged things to meet up on a Friday, when she’d be off work. I went out that Thursday night with a load of friends, but left half way through the night because I just wanted to see her, so she met me in her pyjamas and slippers by the city’s college and we went back to hers; me barely able to stand or slur out a possible ‘Hello’.

On the Friday (afternoon, obviously), we spent the majority of it lying on her sofa, watching One Tree Hill (her show, her ‘thing’) and she was determined to get me into it. I was hooked instantly. Of all the guest appearances they could’ve had on for the first episode I was to watch, they had The Honorary Title (episode 7 of season 5, entitled In Da Club). I got so enthusiastic, I was like a child, and started to talk about them and Jarrod for ages. I think I annoyed her that she couldn’t pay attention to the story! I had only discovered the band roughly two weeks prior, and they were hot on my iTunes, and I had spent a lot of time researching them and closely analysing their Wikipedia pages.

I remember when I left hers later that day to return to my friend’s house to collect my things, I had this feeling: I really, really didn’t want to go. Walking further on back into the city centre, with my mind in check, everything just felt right as Gorbel’s “No one, no one, no one-on-on-on-on-onn” rang through; it made so genuinely happy. That fantastic feeling, that sensation you get… It stuck with me.

James Joyce famously said: “Her image accompanied me even in places the most hostile to romance”. I can’t say I remember the road I was walking down when this all sank in, or how to get there, but I certainly do remember the feeling; and the steel gate by the side of me, and the mini island roundabout up ahead; the traffic brushing past, the school kids passing me, staring at the messy heap on my head that I called a haircut. I can close my eyes and picture it, down to the clothes I wore. It’s funny really, that exact moment saw me write, what I find to be, my favourite and best line to date; my finest piece of writing that I am so proud of – maybe because I love the imagery, maybe because I reflect back to that moment, maybe because I think of that song and see two people waltzing in my head… But I’ve never written truer words that mean so much to me: “Knowing that this moment would be a prevailing sentiment; she filled me with undeniable ecstasy”.

Like a moment that exists outside of time - no birth, no death, just an animalistic moment and divine; pure, thoughtless, infinite, where you can loose yourself in perpetual bliss…

I have several musical heroes, and Gorbel is one of them; it was this video that started that ‘obsession’.

Even listening to it right now as I type this, I have this warm, fuzzy feeling, in my stomach and all over, an odd sensation; I feel happy, and I feel sick, and I feel sad it is no more. I’ve only been able to stomach listening to it once a day whilst writing this column due to my mood, and how her and I are now, but it truly is a brilliant and beautiful song... It’s funny, ‘No One’ is one of my favourite songs, but I can’t stand it.

To capture my loneliness, and her departure, I found myself turning to Kevin Devine and Keaton Henson. Henson (or Adrien Brody from The Pianist, heh) was a new find for me, whom I associated heavily with my break-up, but in the past I had always turned to Devine to be solemn and to find comfort. His cracked voice and soft acoustic guitar sang me to sleep often, and healed my invisible wounds and supplied sufficient background music to allow me to carry on with my musing and brooding. As I began to write lines like “I miss you, I thought, like a soldier’s last cigarette of military monogamy”, hoping that would ease the pain, and convert it to written word to help make a novel. Devine began to take such a significant role, that I then decided to use him actually finish my novel on, taking an introspective line from ‘Heaven Bound and Glory Be’ off of his 2006 release Put Your Ghost to Rest, to help perfectly portray everything I had been aiming to achieve:

I still remember the pattern on your back that your birthmarks make, I thought, as I raised my arm up, and traced it in the air with my floating finger, squinting through heavy eyelids. Kevin Devine playing solemnly in the corner: “The King looks for his castle; Heaven bound and glory be”.

About a year and a half later, she came back to me. I won’t go into any details, because I don’t see the point; they’re irrelevant, and it’s too personal – but I found myself flooded with ease, and washed with almost-relief of sorts and calming. Henson’s ‘About Sophie’ had just been released, or rather I had just acquired it, via. the deluxe edition re-release of his debut album Dear…, and it felt like a case of coincidence and right timing: “She's as stubborn as winter and as kind as the sun”; “And nothing is said unless it needs to be, I'll watch a movie, she'll fall asleep” (‘About Sophie’, Dear… (Deluxe Edition), 2012). The emotion of the song captures my mood and everything perfectly, the scene, whatever.

This is all getting a bit weird and deep, so I’ll sum up with a passage I found in an old journal of mine. I hope it’s something you too can take home with yourself:

But I’m trying to look past that, and realise that those thoughts I am having were of the past. And so what I should do is simply smile. Smile knowing that I went in all guns blazing and loved someone the best I could. Knowing that I had the best friend anyone could ask for, for those short months. It’s only selfish of me to want more, or to think I deserve just one more moment to talk things out - when what is there left to say?
We’re different people, with different lives. I’m stronger because of the experience, wiser, and Hell, happier, because of the experience! I got some f***ing brilliant writing out of the whole thing too. It’s weird when I have my low moments, but I just need to remind myself that, in the words of In Remembrance, “We’ll always have the memories”, and leave it at that.

-

Morrissey once sang “We hate it when our friends become successful”, but for me, I can’t help but be on the other side of the spectrum (or plectrum, am I right?), and thankfully, We Are Fiction are not northern. My incredibly talented friends found themselves bewildered at acquiring airtime on BBC Radio 1, with their phenomenal single ‘My Dream Are Haunted’, which was initially released around Halloween two years ago – odd how time flies. The penultimate week of January saw the single become a regular feature to the station’s playlist, deservingly reaching a wider audience. The response and aftermath was tremendous.

Shaw commented on the wonderful opportunity:

“It’s great for an independent band like us to get this kind of opportunity. It really ignites my faith in genuine, home grown music becoming recognised by a massive influence like the BBC; and with bands like Mallory Knox and Deaf Havana being received so well, I can see 2013 being a huge year for UK rock music – and we’re ecstatic to be given the chance of being part of this”

I sent bassist Chambers a text saying that 2013 would be his year, and now, I can’t see how it won’t be. This fantastic achievement could not have happened to more-hard-working individuals who have done nothing but push themselves and in their own words, they “never let go of [their] dreams”.

Also, I would like to give my side-congratulations to guitarist and backing-vocalist Marc Kucharski on marrying the love of his life, a beautiful woman known as Ruby, on Saturday 19th January. It was a true love affair and a splendid white wedding, as snow was scattered and descended from Heaven above to bless them. I eternally wish them all the best.

-

Mid-January: I limped along the cold, damp streets of Hoxton in London and as my footsteps echoed when the street lights flickered. My breath before me swirled up into the sky as I stood outside The Macbeth pub, unable to locate the entrance to ostentatious venue. Inside, on Thursday 17th, Vinnie Caruana of I Am the Avalanche (and most recently Peace’d Out) returned to play an inmate acoustic show whilst on ‘holiday’ in England, largely to see his beloved Liverpool FC play (my boys) Norwich City FC (we lost 5-0, it was awful), so why not play a show when you have the day free?

There was support from two bands I did not have much time for, but the opening act, Name Your Heroes, rippled a less-Lifetime influenced The Rookie Lot, whirling up that old-school emo with modern day screams like a new-age pop-punk frenzy. Them, them I enjoyed, though I spent the majority of the night sitting at the back of the venue in the comfy sofas drinking Red Bull.

Notes:
- As nice as they were, the bartenders did not know how to make drinks
- The loos sure took a page from CBGB’s book
- The DJ would’ve better suited a Geordie Shore party. I wonder what drug(s) he was on
- £2.50 for a small can of Red Bull sucks

Opening with regular choice ‘Symphony’ and concluding with ‘Brooklyn Dodgers’ as homage to his friends and family, Caruana unleashed an arsenal (football puns aplenty) of I Am the Avalanche songs, The Movielife classics, a Save the Day cover, and a song from his debut solo record, ‘Somehow the World Keeps Turning’, which went down a treat. With no set-list produced, simply a piece of paper with a list of songs he knew, Caruana took requests and chose songs that he fancied whilst simultaneously necking as much beer as the audience would give him.

I was lucky enough to be right at the front for the entire set, seeing Caruana often step away from the microphone to let the crowd scream the words out in unity: Man Utd. I had lost my voice by the end, whilst his, rustic and true, continued to belt out stripped down renditions of his back catalogue. I didn’t really think that seven years ago, I would be hearing those songs that I grew up listening to live, in such an environment – the thought made me smile. Caruana also stated that, with regards to a reunion of The Movielife, he couldn’t see it happening, as the band is like an ex-girlfriend to him, but “never say never”, and it is something he’d like to bring across the pond once more.

An hour set left me stoked (I’m trying…), filled with football jokes, and heckles from the crowd. I utterly devoured with admiration and loved ‘Clean Up’, ‘Sailor Tattoos’, ‘Hey’ and ‘I Took a Beating’ in particular. I found it an absolute privilege to witness a hero of mine perform in such a small pub. An intimate set to roughly one hundred die-hard fans, all for a mere £7 entry fee – The Macbeth was ful(ham) – Damn, I’m trying hard now, filled to the brim.

A day before departure, Caruana said a package arrived at his door; a box of his records had appeared of all things. So he had brought over a small loot with him. My friend bought a copy, and lent me it a few days later. So, whilst visiting my parents, after being well-fed, I settled down onto a sofa, and put my father’s gigantic headphones on (which I actually bought him several months back, having broken his original pair), and gave City by the Sea a good listen.

Like a mature ‘Sailor Tattoos’ (The Movielife, Forty Hour Train Back to Penn, 2003), but extended over six songs, City by the Sea is a record that Caruana should be proud of. The music is never over done; the drums are simply there to softly and subtly accompany the strong notes and harsh tones in Caruana’s voice and deep-impacting lyrics, whilst the folk style guitar and piano riffs merge in and complete the package. I know that it will feature heavily in the playlists of my 2013.

Hayden Gigner is the frontman and wordsmith for current Peterborough pop-rock titans, All in Colours, who decided from day one to make every day a party, every show an exhibition of fun, showcasing happiness with great visual displays and audible gold. At only twenty-four years of age, Hayden has had an extensive history with music and is one individual who truly oozes notes from his pores, and bleeds delay and reverb. He is the perfect person to conduct my first ever interview with.

Copyright of Danny "Sambuca" Ackerley, 2012: Source.

I first met Hayden when I was about fourteen in a local shopping centre, I can remember the exact spot too; Hayden was then the boyfriend of my best friend’s elder sister, and we had all congregated outside of Boots for some off reason. His towering presence, gangly physique and black army cap intimidated me, but he was kind, and sweet, and it never seemed a burden to trouble him with a question about music or tips with playing the guitar, which slowly blossomed into a respectful friendship and (one would hope, mutual) admiration.

A self-taught musician, Gigner has the ability to pick up any instrument and create magic; a well versed articulate, he began making music properly eight years ago. He used to quote Taking Back Sunday’s “Literate and stylish, kissable and quiet” when describing himself on social networking sites, but now let’s hear it in his own words…

How would you describe yourself to those who have never heard of you?
Emotionally invested, unapologetic, and girly. Pop music, sometimes, with some gutsy bits.

Milk and two sugars? What’s your brew?

Earl Grey, no milk, no sugar.

What got you into music?
My mum was into reggae, UB40, Chaka Demus, motown, and northern soul. My dad was into country: Kenny Rogers, Glen Campbell. I don’t remember much of a drive to be a pop star when I compare that to things like the smell of the guitar (which turned out to be an antique) and the first lessons I taught myself about tone, really the basics of how to get a note out. But it was returning to those sensations that became an addiction and that meant I spent so much of my time since playing, rather than wanting to be a musician. 

You’ve been involved with many different projects over the past several years, from school bands such as Gunstar Heroes, touring with Silent Ground, playing festivals with Decades & Digital, to your new, current outfit, All in Colours, along with a feast of solo projects along the way featuring different styles: standard acoustic (‘Star’, ‘My Breath… Take It?’), folk (‘Time for Tea’, ‘Ballad of the Boy Who Cried Wolf’), emo-tinged rock (‘Ibiza’, ‘Beg Me to Leave’), to a most recent piano-pop-ballad-eqse sound (‘Evasive Manoeuvres’, ‘Love (Like it was in the Movies)’). You’re like Peterborough’s answer to David Bowie. But what do you prefer to do?
It really does depend on what mood I’m in or what day it is. I haven’t yet found a genre of music I don’t enjoy involving myself in. I think music is universal and for me it has always been about expression. Each genre allows for a different mode of expression. I love a chilled room with precision mic’d instruments where every note can be felt but I also love going nuts on stage where the hype from the audience overtakes the players. 

Any interesting stories along the way?
So many; being on tour especially is the most surreal experience. The road is such a romantic place. All the people that don’t fit in to the main hubs of society find themselves there, like moths and porch-lights. There was this one show where a troupe of acrobatic wrestlers invaded the stage and started throwing each other around. I met a facial gymnast once in Camden, who could fit his own nose in his mouth. 

What was school like for you growing up?

I’m sure it influenced me greatly in many ways but life started at sixteen for me.

Who has had the biggest impact on your life?
Honourable people and beautiful people, and I think honour is beautiful so I could have just said beautiful people but I can see how that could look a little shallow. Acts of love and genius, I look up to people who show them.

I remember, several years back, when we recorded ‘Glass Half Full’ at your old place in Bretton, we played it to your mother, and she straight away said that you could do better. I was shocked as I thought it was the greatest song to have ever been created - do you find she pushes you continuously?

I don't think she pushed me on purpose but when I wrote a song, I'd want to play it to whoever was around and my mum was just honest, which I appreciate. To improve you need to balance between being excited with what you create and acknowledging how you can evolve.

Would you say music runs through your blood?
You mentioned my cousin Ben, as in Ben Mackereth of Tu Amore. We certainly share something. As far as I know there haven’t been a huge number of musicians in our family. My mother played once, or so she tells me, but gave up after her counterpart in a duet bailed on a show and left my mum on stage on her own. She never played after that, and many years later that same guitar was handed down to me. I guess there’s a story there.

What would you say your influences are?
In terms of music: I already mentioned reggae, Madness, UB40, motown, northern soul, Michael Jackson, Meat Loaf/Jim Steinman hugely influenced me, Nirvana, VAST, a track by My Vitriol called ‘Always Your Way’. That really opened my eyes. InMe, The Used, Taking Back Sunday, Senses Fail, Dashboard Confessional, Coheed and Cambria, Deftones, Poison the Well, 36 Crazyfists, a Wu-Tang Clan rarity called ‘Shaolin Style’. Hall and Oats, The Waterbuoys, I could carry on…

Do you have any non-music related influences that help you write and make music? Or even influence your way of life?
Anything that sinks in that deep I guess. Since all the music comes from that groove, that subconscious feeling. It’s a spiritual place so anything that affects me comes out in the work. I have a few political interests that sometimes thread through in lyrics but they are rarely the main point and they never overtake the passion of the other thing.

Is love a factor?
Love is, for me at least, the most natural thing to write about and for. There are some truths out there amongst all the science and religion and love, I have found has the potential to be one. 

How many people have asked you to write a song about them?
Not a lot. Including all the silly jokes, probably less than twenty.

My favourite lyrics by you include “The tip of the iceberg is the tip of the knife, cause whether you like it or not, you’ve been the love of my life” (‘The Proposal’, also reused in ‘The Firefly Song’), and “Climb into the most uncomfortable places just to get close” (‘Star’). What is the favourite set of lyrics that you’ve penned?
I like lyrics for different reasons. Sometimes you can say something simple and it’s effective and sometimes you fall in love with a few words because the syllables fit nice over the beat. Sometimes it’s a metaphor that gets you tingling or an image because you can relate to it. I wrote a song about desperate love entwined with the idea of an impending nuclear attack, like the feeling of utter abyssal decimation and the lyric was “Hide ourselves underneath the windowsill”, which was an image I remember from cold war public service broadcasts, and it sounds beautiful over the chords of the song even if it might not make any sense to a lot of people.

What is your writing process?
I write mostly when I’m busy with something else. I used to write a lot working behind the bar. I hear the songs in my head then later sat at the piano I’d work out what chords I was humming. I had written entire songs that way. If I try to write from scratch at home, I get nowhere.

What was the best show that you have played? What was your favourite?

Probably a home show. At the Park? I can't pick one. There’s always a good vibe in this town.

Do you enjoy performing live?

I do. I love the ritual.

Where is the weirdest place that you have played?

Maybe a time when Donny Tourette ordered us to play our whole set again at the Purple Turtle, in London.

Channel 4 approaches you and invites you to do a Come Dine with Me special. Who would your ideal competition be, and why? Whose house would you want to snoop around?
I’d love to have a chat with David Cameron and some other influential people, if not to straighten up a few things gone awry then just because I’m intrigued.

Turns out the Come Dine with Me special was a flop, and you end up eating a cheese and onion quiche with a glass of Buck’s Fizz at Dean Gaffney’s. What score would you give him?
Cheese and onion quiche isn’t my favourite and Buck’s Fizz isn’t my poison, but Dean seems nice. Unless the conversation was inspiring, a 7 would be generous.

What’s your favourite childhood memory?
Something involving food, I imagine. 

Why music? What does it to for you? What, to you, is the best thing about music?
Music is a different plain. In life, you breathe and speak and walk and talk and do things. When you play, and you really get into it you are just there in the music, it’s a totally different place and you are free to make whatever you want to happen next just happen. I call it ‘the groove’ but there are other names for it, but that’s the best part of music – the groove.

What have you been listening to as of late? Any unheard of artists we should be aware of?
I like Flo Rida. I also like Gotye. If you haven’t heard The Low Anthem then you should. And I recommend Bitch Alert.

Who’s your favourite member of KISS?

No comment.

Is there a film you wish you wrote the soundtrack for?

I would love to have a go at an original film score one day. Obviously Star Wars, Kill Bill, Enter the Dragon, and The Good, the Bad and the Ugly come to mind.

With that said, who would you have play you if Hollywood came knocking (or, to be more realistic the National Lottery Trust x UK Film Council) in a film or your life story?

A well trained toucan.

They say that travelling broadens the mind. I understand you recently went travelling around Asia – how was that?
The world is rapidly getting smaller. I travelled there to learn a martial art from the monks that practice it and though where I stayed was still predominantly rural, the developed world is overtaking and some important knowledge is being buried underneath it. I am glad I was able to go when I did, and if commitments allow I plan to return in the near future to complete my training (like Luke Skywalker did on Degoba) before the tradition becomes too sparse to find on a reasonable budget. 

What’re your top five travelling, and touring, essentials?
The means to sustain yourself, whether that is a wad of cash or something you can make money with like a guitar, is all you need and you can go anywhere. Other than that, I recommend a telescope (the pirate kind), a hat (for when it’s hot and for when it’s cold, and when you need to put your head somewhere for sleeping and such), and the electronic game known as ‘Bop-it’.

What’s your favourite joke?
There are two fish in a tank. One says to the other: “To be honest mate, I don’t even know how to drive a tank”.

Do you have any advice for any budding, aspiring young artists out there that want to cut their teeth in this sort of field, and dedicate their lives to music? What wisdom can you pass on?
Do what you love. If you love music, do it all day, every day and one day you will be so good at it that someone will pay you to do it. 

Where do you see yourself in five years time?
Still doing this, I hope. I would love some radio play and to see a bit more of the world but the industry is changing. With things like Gangnam Style and The X-Factor floating around it’s impossible to predict what the next big thing will be. Maybe one day I’ll write one.

What’re you hoping 2013 has in store for yourself and All in Colours?
I am currently putting together an album, something that has been years in the making and something I am very proud of. It is likely I won’t go into the studio with it until later in the year, perhaps early 2014, so I won’t say much about it now. All in Colours will be recording again in February with the hope of putting together our first EP along with some music videos. Our other goal for next year is to shine some light on that in the press. We all believe that we haven’t yet discovered the best tunes we are going to create. It’s still a developing sound, and we’re working towards a niche.

I appreciate all the time Hayden has given me in order to complete this interview, and, if at all possible, my respect for him has again increased; I would like to thank him once more. Cards on the table, Gigner truly is pure talent and the most humble and modest human being I have ever met.

He not only deserves, but has earned, your respect and time – I guarantee you will not regret spending a few moments listening to a song of his, solo (he’s up on iTunes!) or band work. He is the most unrecognised and underrated, inspirational artist Cambridgeshire has seen in years. I fully back the work of this gentleman, and find it an outrage he is not more successful and known, let alone paid to make music for a living. He inspires me always and always leaves my jaw on the floor, and I know he will do the same to you if only you give him a chance.

I’m sure he also appreciates the fact I did not ask him what his favourite colour is.

Follow on links: You can read about his travels in China, by clicking the following link to his personal Tumblr: click here.

You can also view a fantastic performance by Gigner, helping him on his crazy journey, as he performs ‘Evasive Manoeuvres’ back in 2010: click here.

Exclusive: All in Colours have been incredibly generous and allowed me to upload an exclusive, brand new song, which they recently recorded, and is set for release later this year. Beautifully entitled ‘Inhale/Exhale’, the boys are back on form with a belter. You may have heard this performed live if you have had the good fortune of catching them play as of late, but now all can enjoy. I am eternally grateful for the chance to be the first to introduce you to this excellent track. Follow the link to download on MP3 format: click here.

Announcement: Apologies, but I have taken it upon myself to shorten the time I spend on this column to posting an article once a month. Writing is a great passion of mine, and I adore music – I more so enjoy discussing music in depth and why it works, or makes me, or others, tick and having a crack at trying to explain or share with you readers fantastic and interesting thoughts that may strike my mind. But with that, comes time needed, and sadly time is something I just do not have.

To spare you of details, I write this in my spare time, but my spare time is few and far between; I don’t get paid to write, and I feel like writing this won’t really get me anywhere, noticed or of any recognition. I am swamped from nine to five by a job I utterly detest, and clocking off, I then face the real world. I do this for the fun of it (and quite possibly to help keep myself sane, hoping that someone will put up with my odd music tales – I’m like that old man, at the pub every night, who has adopted some decrepit nickname: Old Man Sheldrake). I feel like several of my past entries have sometimes been rushed due to time; I haven’t enjoyed writing them (which is the ultimate no-no) and I cannot stand the wording, for it all feels rushed (see Charles Bukowski’s grave) and forced out of me to lift the weight off my shoulders, be it the general writing or even the ideas of what I write about.

I want to have enough time to discuss something thoroughly and well; I want to be proud of what I write, and for that to happen, I need to shorten my work load. Like I said, writing is a passion, and I want it to stay that way. One doubts I will ever get a job out of it, so I need to ensure that whatever time I divulge into the art, I enjoy profusely and proudly. Since starting this column, I have had literally no time at all to write anything else, and not spend any time on my other projects (two novels, one compilation of poems and prose, and a notebook consisting of rambles, regurgitated The Smiths lyrics and lustful woe), which I really don’t like acknowledging.

I want my column to be good and worthwhile – I don’t want to be one of those websites that copy and paste sources from other websites that attain information first. To be those piss-poor Kerrang! and NME rip-offs that will say such-and-such has released a new song over on their official website, but not even talk about the song, and simply provide a link; tell me about it! Is it good? What is it like? Tell me anything! Challenge my Goddamn mind; do not bore me to death because you are too scared to talk. That’s it anyway, I’ve said my peace. I can't wait for this year to unfold, I have so much in store already that will see you guys getting caught shoftlifting.

Once again, I am sorry, but this is something I must do (he says as if someone cares, and this is a life changing decision like moving away from home to become a man).

Top five releases of 2012

As cliché as it is, people will always relish the chance at the end of the year to look back, reflect, and discuss what releases of the year really made their year; what made them them, what made them surprised, shocked, tick or simply groove too and enjoy. So here’s my shot at it: my top five records of the year, along with some honourable mentions that deserve attention.

And, as I imagine you’re probably already pre-drinking whilst reading this, eager for the night ahead and whatever shenanigans you have planned, I will do my best to keep this short!

1. Lana Del Rey – Born to Die

Lana, a woman after my own heart, released her debut album Born to Die in January, but it was only in the late summer when I decided to give this a real listen, after months of hearing it played on the radio or CD player of friend’s cars. I was severely impressed and left heavily impressed after the first song, and this only progressed as the days went by and the play count increased.

Each track has its own unique glimmer embedded beneath, all different and yet for an album that is increasingly long (which is rare nowadays), you can tell it is not rushed, and it is never dull, or boring – it flows gloriously and eloquently as its singer’s nose. When you get to ‘Carmen’ and ‘Million Dollar Man’, you are still excited, on the edge of your seat and eagerly listening to the words and such beautiful voice with an immense diverse vocal range – this can be heard in ‘Off to the Races’ alone.

Ending with ‘Lucky Ones’ (if you have the bonus songs – which you absolutely must), the record ends with an epic scale of uplifting qualities and truly highlights its glory and grandness, securing the slot so early on for top contender.

Following Born to Die, an extended play/deluxe edition was realised in November, named Paradise, consisting of eight brand new tracks of solemn lust and awe. Starting off with ‘Ride’, Paradise picks up where Born to Die left off, continuing majestic tendencies of all her previous work, capitalising and building Del Rey’s reputation and repertoire. Songs that are profusely stuck in my head; I cannot skip them when they crop up on my iPhone or iTunes; quite possibly the only set of songs I haven’t skipped at all in fact.

This album is diverse, flawless, (very) sexy, magnificently mixed, proud, dominant, filled with lust and creative imagery; a Los Angeles skid row Charles Bukowski reminiscent work, and the real winner of the year. In Layman’s terms, Born to Die is astounding.

2. Tu Amore – Your Love

Peterborough’s very own Tu Amore are ranked highly on my list this year, they have not yet put a foot out of line with powerful performances consistent all year round, only to be topped off with an intense and well-respected debut release, Your Love. The name of the record derives from the English translation of their Italian band name, just FYI; a unique self-titled experiment.

I will find this hard to write about why I love this record so without simply regurgitating previous words of praise seen in my thorough review, published several months back (which became my most successful column according to my stats – so thank you for that!), but I can say that without fail, if there ever was silence in my bedroom, I would put this record on first and embrace its brilliance; always finding something new with each song – appreciating it time and time again, and even live at this year’s Queensgate student lock down and again at the final night of Club Revolution.

I really cannot express how impressed I was when I first heard this record, and how I still am! It was the surprise of the year. I suppose to sum up, I will quite the conclusion of my review: “This record is one I will gloriously treasure, and find myself indulging with time and time again; I enjoy it whole-heartedly and greatly. Not only is this my favourite style of music, so it ‘hits the spot’ perfectly, it humbles me and makes me so proud to call these four gentlemen my friends”.

3. Deaf Havana – Fools and Worthless Liars (Deluxe Edition)

The re-release of 2011’s Fools and Worthless Liars saw Deaf Havana up their game and change how the world saw them yet again, with a very interesting take on their initial songs. The East Anglian four-piece re-recorded the entire album, blending different genres and influences to be, what could be considered, the greatest compilation of covers – better they do it, and do it right, rather than have some fourteen year old ruin a masterpiece with a wimpy voice and several G chords. From piano power ballads to up-beat folk renditions, the deluxe edition sees the band open their doors to a wider audience and a heap load of more possibilities.

Not only was the original release absolutely incredible, but now the re-release compliments and enhances such crackers. The stand out track for me is ‘Things Change, Friends Leave and Life Doesn't Stop for Anybody’; forever with a soft spot for Brand New, this song is next-level-epic. It’s soft and subtle, tingled the ear drums as it creeps and echoes around the skull before the track evolves into a monster that, whilst nodding to its own past, now encompass a sound that embraces elements of fury and Hell. On the opposite side of the scale, ‘Anemophobia’ really displays the gorgeous voice Veck-Gilodi posses; he’s allowed to try something completely new and its as if he isn’t the same person on this record. Those who are not even fans of Deaf Havana would adore this sound.

The record does highly, noted through the words sung and sometimes odd change of lyrics, that the rock style they are known for is the correct path for them to walk down; but it is so refreshing to know they have the ability and talent to stray if they wish – and as the material would be new, it would be exceptional.

I would highly recommend watching the trailer video that the band made in conjunction with the release of this record; it gives a wonderful insight to the way it was made, previews to the songs, along with a general understanding of the band, why the record was remade, etc., etc. To view it on their official YouTube channel: click here.

4. Alexisonfire – Death Letter

In December an EP entitled Death Letter was released, featuring new interpretations of songs spanning the band's previous three albums, in a sombre, mellow, emotional expression, interestingly mostly composed and performed by Green and MacNeil; the two that can be considered the catalyst for the demise of the only band ever. The result was something beautiful, and really can be seen as the pinnacle and ultimate tribute/wave goodbye to Alexisonfire.

Pettit once said that he wanted to be part of the movement that doesn’t save screamo, but in fact kills scream – stabbing the knife right through its heart, and I would like to think that the band all agreed that this final release was that act in motion with these final six songs.

Green’s other musical project, City & Colour, released a live album several years back, and on it was a gorgeous rendition of ‘Happiness by the Kilowatt’; one man and a finely tuned piano captivating a tremendous audience, depicting the tale of suicide and a flurry of emotions. It really is worth listening too, as it is more stripped down than the version on this record, but no doubt it was what started this craft and idea off to create this concept extended play.

I could say the word ‘beautiful’ again and again, but it would not do the record justice – it needs to be listened to in total appreciation; it is a wonderful compilation of music and a work of art in its own right.

5. Acres – Acres

Voted number one release of the year by music fans and reviewers collectively on Sputnik Music is enough to grab the attention of even the most jaded and stubborn music listener. This self-titled debut release by a young and eager Portsmouth based quintet really projected the drive, determination and passion still thriving through the veins of British teenagers, hungering to explore music and break through the traitorous and unforgiving underground music scene, which is proving harsher and harsher to make waves in anymore due to the culture change to our generation in recent years.

The beauty of this record is that the band approached the post-hardcore sound in a different way, and superior light, than the majority of bands that get air play or a host of shows. I can say this quite confidentially knowing guitarist Freeman well; we met due to a love and understanding of the American post-hardcore underground scene (for example, Lower Definition, Oceana, Agraceful, early Emarosa, Chiodos, Dance Gavin Dance, etc.) which Freeman stated influenced his writing style and helped shape and mould their sound, to be blended with a British context. This release was a break-through, and it is the future of the underground.

Again, having reviewed and discussed the band and record in depth previous times this year, it is hard to conjure up with something new to say, but I will say that the record has be regarded as a turning point in post-hardcore for the English scene, and must be respected. How can it not be? Acres is a remarkable and trend-setting release for 2012, no doubt about it.

Honourable mentions:
- Anthony Green – Beautiful Things
- Architects – Daybreaker
- Basement – Colourmeinkindness
- Cancer Bats – Dead Set on Living
- Childish Gambino – Royally
- Circa Survive – Violent Waves
- Decade – Decade
- Keaton Henson – The Lucky
- Keaton Henson – Sweetheart, What Have You Done to Us
- Right Away, Great Captain! – The Church of the Good Thief
- While She Sleeps – This is the Six

Decade just missed out on a top spot for me; whilst being utterly fantastic, I felt it wasn’t strong enough to secure a space in my top five despite thoroughly enjoying it and playing it on repeat (I would’ve scored it a four out of five if I were to review it properly); I’ve discussed it enough to instigate that alone, along with the other mentions here. All have their quirks and deserve recognition.

My most played artist this year was (according to my Last.FM account/iTunes anyway!) Morrissey, believe it or not, at a landslide. The man whose first name is my middle – sadly not named after, but nonetheless it was the likes of Bona Drag and Viva Hate that I had playing on repeat to flooded my bedroom with melancholy, inspiration, literature, culture and whit up to the ankles; he let me drink him in as he dampened my feet. In second place was surprisingly the American, Jack-of-all-trades, Childish Gambino. I really enjoyed listening to Camp and Royalty both this year; last year I found it hard to get into Camp, but I think I didn’t quite ‘get’ Glover back then. Then, followed swiftly by my favourite band, Brand New, (now) my favourite woman, Lana Del Rey, and the usual suspects that I’ve spoke of highly and often this year.

Tu Amore’s Your Love turned out to be my most played record of the year. From first listen, to second and third, to constant plays to make sure I wrote the perfect review, to simply being there to spur me on whilst working-out or cooking dinner, Your Love was dominant. As expected, I knew this would be an album I would find moreish – unable to get enough of it, hungering to listen again. In my top ten were also a lot of rekindling hardcore love featuring Background Music by Give Up the Ghost, Dungeness by November Coming Fire and The Legacy’s Beyond Hurt, Beyond Hell.

Most played songs also reflected on my playlist: the songs consisted mostly of Tu Amore and Decade, Childish Gambino’s ‘Heartbeat’ (I’ll explain why this one is so high up later in the year, no doubt), and a spot of ‘Suedehead’ by Morrissey. However, my top two tracks were singles released by a band I haven’t mentioned yet; who only released one song in 2012, mid year: We Are Fiction. ‘Earth Medicine’, a gritty, rock anthem of aspiration and non-conformity took underground music radio stations by storm, and helped solidify a strong year for the band – quite remarkable considering the amount of shows and tours they embarked on having produced very little, gaining an even stronger fan base and shouts outs on Twitter from the likes of JLS (Bassist Chambers is the cousin of Ashton Merrygold). Trending #TeamWeAreFiction, the band make it their duty to unite all; they want to create a powerful family to support one another and bring hope and happiness into their music and surroundings. ‘My Dreamed Are Haunted’, released late-2011 to a mass of critical applause, stayed a constant on my playlist also – of love-lost and wanderlust. I cannot wait to discuss these songs in greater depth, but will save it for when I review their debut album in a couple of months. But, to sum up: ‘Earth Medicine’ is my song of the year.

I can’t really say I’ve been the best for new music, and I’ll admit I didn’t really open my doors to many new artists, so this list could be incredibly different if I had the radio on consistently, or opened my doors more; if I had more time on my hands, or had music recommended/suggested to me, especially to sorts that I rarely listen too. Even with ne releases, I gave very few the time of day to really listen to them, if at all – shamefully, most became background music as I pottered about with my everyday life and household chores.

2012 seemed a tricky year for me to discuss music; most of the records I found myself playing were from 2010 and 2011 – more rekindling or still in love with those than discovering anything new, and I began to stray from music blogs and gave up trying out new music as in previous attempts over the few months, my attempts would come up short and with whatever band I did give my time of day too, I felt let down; it was all very lacklustre – be it poor recording, lyrics, vocal work or generic power chords, I simply was not impressed. I found myself more drawn to the party side of music: what worked well in clubs and what actually had fun encrusted into it where passion (regardless of how) was portrayed expertly; a song you wanted to become part of.

So, I divulged into a lot of compilations, for example Annie Mac’s, and aimed for more commercial and radio played music to bring me up to speed and shine a light on the current media and to widen my knowledge and appreciation – hoping to find something new that’d really strike a chord with me and captivate a new chapter of the Gavin chronicles.

Even then, there was little new music I discovered; 2012 was a lazy year for me. Almost a subdued filler. Perhaps, I have found myself merely awaiting 2013, fully aware of what is scheduled, anticipating releases from the likes of This is Hell, Letlive, We Are Fiction, Cody B. Ware, Stray from the Path, A$AP Rocky, Kid Cudi, Pure Love and there has already been hints at a new Brand New record in the mix too, which indicate that 2013 will see a very, very formidable and exciting year ahead of us.

Readers and friends, I wish you a prosperous new year.

What I’ve been listening to: Bit of an odd one for me, and not my usual cup of tea (I’m a coffee drinker, y’see), but over the past two months, I’ve really enjoy the tracks released by American DJ and producer Baauer. The Brooklyn based twenty-two year old has a true gift when it comes to mixing; a keen eye, or ear, for amenity. Forever playing shows and club nights, he still finds time to remain sincerely humble and socialise through his Facebook, play radio shows and come out with anthem after anthem. He’s probably most known and recognised for creating ‘Harlem Shake’, or at least that is his top played track on Last.FM, a track where you find yourself involuntarily swaying your shoulders and bopping your head along to.

I came across this refreshing and new chap via. Cody B. Ware’s Instagram feed where he recently attended a show in the UK whilst they were both blessing British shores, and from behind the decks the crowd looked immense and I thought to myself ‘Who is this guy? Time to investigate’, and I’m so very glad I did. All these little mixes he produces, like in his Day of the Dead drop, just make my head scream “Oh God, this is so good”!

As an idea, I would love to see a collaboration with someone like Cage; it’d be very good for both careers (and easy due to location), bridging the gap as Nas would say; they seem to cover similar themes within their songs, take ‘My Nose’ for example, or at least see a remix made. Especially if there was more works like ‘The Void’ to be played around with. However, I did read a few months back that Cage stated that he more than likely wouldn’t be making another track like that again (as it was very dubstep based – probably created for club use and to help get his name out there), but also there was no track like it on his new scheduled releases (two upcoming EPs), and despite there’s only about four or five degrees of separation, it’ll probably never happen.

The other night I was in charge of the playlist as my house was hosting a small party, and I found plugging a bit of Baauer certainly spiced things up a lot better than previous parties where Watch the Throne is just played on repeat (sorry Ye). So, if you are in that party mood, play some Baauer, and get the attention of everyone around you (including all the pretty girls that otherwise wouldn’t give you the time of day – win/win), he’s definitely worth checking out.

-

Acres have done it again. Those clever lil’ Portsmouth spitfires have conjured up a cracker, spitting out small sparks of amber, to a shower of light, kindling and catching on to the bridges that align them with any competition, hissing and sizzling as it sets ablaze and leaves, incredibly, everyone else to perish… Ultimately in the dust. Left standing: six minute long ‘The Tallest of Mountains’. Vivid, I know, but the new release, a half-single, half-demo (just a new song they put out), is incredible; building on the imagery before mentioned, it’s like Sagat’s Tiger Uppercut from Street Fight II.

To indicate how good this new track is, I was eager to vacuum my bedroom, yet could not start until I had listened to this song three times. Okay, I realise how bad that sounds, but it is true – I had to listen to it, and I had to listen to it again, and again. ‘The Tallest of Mountains’ compiles an enriched Devil Sold His Soul sound, whom they are often compared too, along with hints of a more advanced Rinoa, and even reminiscent of Rosetta, but less eerier and experimental – they use solid instruments to create a more subtle, ambient product; it works better, and it is nicer to the ears; it’d be easier and wider received.

The track is a mellower and controlled early Burn Down Rome (if you remember them), infused with stronger vocals now, less nasal, more aggressive, not distorted; so they will be fantastically audible live, vocalist Morgan has upped his game tenfold.

Copyright of Animal Defence Records, 2012.

Acres have plans on releasing this track once their Facebook page reaches 1,000 likes (that’s when 1,000 different Facebook users say they like the band by clicking a little thumbs up button to you old timers out there) to celebrate; fortunately, I was able to get a sneaky advance copy of it, to my delight. But do keep your eyes peeled for it, for it will certainly see 2013 kick off right. In the mean time, to celebrate the success of 1,000 free downloads of their self-titled EP, the band have chipped in and through Animal Defence Records (notable contacts include again Devil Sold His Soul) have produced a physical copy of the record – limited to just 50, with 25 sporting a stylish matt white CD, and the other 25 the classic silver. With an additional black sleeve/cover added on top, this is one purchase to make before the January sales (no doubt it’ll sell out!). To check it out and grab yourself a copy, head over to the Big Cartel page now: click here.

Acres posted that they were all set for world domination in 2013, and I hope that is the case. Let’s hope they cover acres of land… Ha. Go send them some love.

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My buddy Alex (of before mentioned Acres) went off on one (in a good way, obviously) recently about a band called Kerouac. My curiosity had already got the best of me through the name alone (surname to my second favourite writer, Jack Kerouac – there’s a sweet, little photo of him on my desk at work), so I felt it vital to investigate, and listen to them, unsure of what to expect. With a southern rock twang, for example the bending of the strings at the start of ‘Fiends’  that suddenly erupts into throat-lacerating, chaotic hardcore, Kerouac are damn heavy, and I like it a lot. They seemed to have achieved a sound I know several Peterborough bands strived for but could never attain.

Sadly having split mid-2012, there will be no more releases to accompany their well-written reckless and thunderous debut and two dangerous split EPs (with Pariso, and The Long Haul), but you shouldn’t let that put you off listening to the riff Armageddon hailing from the south of England. Young and angry, their lyrics portray a generation’s mindset perfectly and capture passion amidst bile and rage from an already bitter band. Take ‘Fiends’ again from the split with Pariso: “You let yourself get f***ed by any compliment”.

Holy Roar Records proudly claimed Kerouac as “One of the most brutal and unforgiving bands to have emerged in recent memory. […] Visceral, […] and memorable”. Spot on.

Similarly aggressive, and having recently played several shows in Europe, Jackals burst through with a new release, Everyday Fabric, compiled of six fast and furious songs with new hints of sludge and Swedish hardcore influences. For any fan of hardcore, I would suggest giving Jackals a good listen and learning a new (yet old school) thing or two.

Looking back, it’s nice to see that Jackals have travelled many emotional miles since their first show; I remember it, for I was there! A chilly January 2010 night saw Cambridge’s Man on the Moon venue somewhat packed (which makes a nice change), as my friend Jez hired the venue out for his first and only (to date) show. Hey, I designed the poster for the night… Free entry, baby. A night that saw an explosion within such a small pub. I have some good ties with the Cambridge x Norwich dual vocal extreme punk surge. Having lived in Cambridge for two years, I became friends with guitarist Parker and bassist Palmer pretty much as soon as I arrived, spending several nights sleeping on their floor and also found high respect for drummer Uden for his Lonewolves backlog, and being an avid Norwich City supporter like myself.

I was able to grab a copy of their blistering self-titled EP on gold vinyl, which I still cherish, back when they started out, but this latest release has taken them a step further into a heavier, crustier, gloomier, sludgier, darker, et ceteraer sound, and is worth picking up also. You can have a ganders, download a fair bit for free (including Everyday Fabric), along check out a couple of other bits and bobs of theirs over at their Bandcamp: click here.

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Obsessed: past participle, past tense of ob-sess. Verb. To preoccupy or fill the mind of (someone) continually, intrusively, and to a troubling extent: "he was obsessed with thoughts of her".

With regards to Decade, I am obsessed. The other month on payday, I headed over to iTunes and purchased the latest release from Decade, which has been circulating over the last few months; a great buzz, their self-titled debut EP. Previously, they’ve only released a demo and a single (which was not included on the record), so I like to see this as their first official main release. Decade, the record, is a pop-punk-rock killer; seeping with future talent, the catchy hooks and neatly written riffs concocted by the Bath five piece, it is their most stellar release to date.

Lyrically, I don’t think they’re as strong as they could be at this stage of their existence, but they are incredibly intriguing, and I wish to discuss the good points. The self-titled record feels like a (successful) experiment from the guys, rearranging their own style in attempt to find a new voice; it works well for me, I like it. It’s short and sharp, and scrappy. Take ‘Low’ for example, lines like “She wouldn’t want that, she’d probably tell me to sort it out”, and “Forget about your friends, they’ll ditch you in the end” really ooze that blunt punch. It’s the word choice, and perhaps Sears’ lexis that convey a great uniqueness about the writing; ‘sort it out’ and ‘ditch’ portray a very British way of life - very Lower than Atlantisy rather than Americanised ideals like most bands attempt, often aiming for without even realising as they simply fit the mould and don’t deconstruct what music they are producing, which in turn gives us the generic responses and the band a lack of real success and credibility, more a “Oh yeah, them… They’re alright, I guess”.

With all of the world’s apathy behind “I'm bored of being bored, of being ignored” (‘Low’, Decade, 2012), and “I'm so bored I think I might die” (‘Home Alone’, Decade, 2012), (a phrase I’m sure we’ve all said. Hell, I said it today at work, or perhaps just sang the song without realising), the content appears a lot different from their original in Lost at Sea record/demo that was released a year prior.

Short tracks containing odd lyrics that (unless they were very personal and glinting with subtle references) seemed very (again, I hate this word, so sorry) generic: “It’s like Broadway all over again” (‘Lights Out’, Lost at Sea, 2011), “Man down, man down, what are you gonna’ lie about this time?” (‘Lights Out’, Lost at Sea, 2011), “What’re you gonna’ do when I turn the lights out?” (‘Lights Out’, Lost at Sea, 2011). These very common ideas have now been transformed and moulded into obscure and eerily beautiful lines: “Rest your bones, before they fall apart again” (‘Never Enough’, Decade, 2012), “God only knows I try to keep my head above the water, but sometimes things get the best of me and I can't breathe” (‘Down and Out’, Decade, 2012), and “There's nothing left of what we had, in this hospital bed” (‘Never Enough’, Decade, 2012), where the songs themselves now seem to carry a story. I only hope that it is with these later songs, they get recognition for.

With the main box ticked, in the form of being able to work together and produce something, the gimmicks and excitement has left them to truly work on who Decade are. As great as ‘It’s Good to be a Vampire’ is, it only held good as a result of referencing iconic film The Lost Boys – thankfully, albeit being a great little banger, it didn’t stick as their ‘main’ song and become a burden, especially if they intended on becoming serious. In turn you can see songs like ‘Mic Skillz’ by Blessed by a Broken Heart end up leaving them a gimmick based band, based on parody and lacking merit, solidified by a sequel, ‘Mic Skillz II’*, anyway, I digress!

A creative ability in the song writing comes from turning assumptions on their heads, which Sears has conquered in ‘Down and Out’. After beautiful word work, he ends with "Let these words guide you home", which at first is a little disappointing and lacklustre, but it is then repeated again, brought back to their own house style with a harsh (shouting, not screaming – lovely touch), unpredictable ending; not straying entirely from the market.

Despite creating a band that work ‘it’ in such a great, stylish and unique way, it worries me they won’t be as critically accepted as I know they deserve, and in general not as popular as they could be (as in, the attention they already receive) because they don’t fall under that same old America criteria. But with full bodied fantastic guitar tones (that sometimes overpower the vocals – it feels as if the music was wrote first unlike the demo, which seemed the opposite), striking vocals, and an intense live show, they’ve came a long way since Ready Set Low (original name: which I wonder if it ties any reference to their song ‘Low’) and will continue to make waves.

* Besides, Blessed by a Broken Heart were still a great band, and once they lost that glam-metalcore gimmick, they had a firm sound and were a great addition to my iTunes library (even if I did personally prefer the more aggressive, screamo demo version of ‘Don’t Stop’ with their original vocalist), and oddly massive in Japan (YouTube it). I caught them live, and they truly impressed me – so yes, nothing against the band really.

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Thought of the fortnight: More like thoughtnight, am I right? Just a quick one this time. The Christmas number one race is always a bit of a bore to me, and an excuse for news readers to fill up time and make it into something exciting, when really, it shouldn’t be regarded as something higher, and no more important than every other week of the year – the glory of having a number one alone should be enough.

Radio stations tarnished with terrible love ballads that don’t incite us with Christmas, cheap covers, horrible rip-offs, or general terrible songs with bells jingling away in the background, accompanied by a low-budget snowy music video – it’s all wrong!

Single sales seem to shoot through the roof, but simply disregarded as stocking fillers; there’s money in it, but no merit; it’s probably why the likes of the X-Factor contestants see it as an easy way to cash in rather than claim they have a passion for music, much rather the fame. I believe that’s why Rage Against the Machine actually secured that number one slot a few years back – people downloaded the single because they actually wanted it, they didn’t have their uncle buy it for them on a last minute whim whilst queuing up in ASDA for his milk and bread.

Within the rock scene, somewhat underground but digging up, seeing the light (poor metaphor for bands that are breaking into the mainstream, receiving radio play, etc.), Lower than Atlantis came out with ‘Merry Christmas (Wherever You Are)’. I don’t want to have a dig at the guys, but the track feels a little rushed, despite not really having a lot to work with – I suppose you never really do when dealing with Christmas songs. A slow verse, a bridge that builds up and an epic chorus, full of little Christmas lines and, as before mentioned, a lot of jingle bells. Still, it’s nice, pleasant, and was good enough to get on Soccer AM the other week, so it can’t be all bad; it is a grower.

Likewise, Kids in Glass Houses have just released one too: ‘Secret Santa’, playing on modern tradition. Again, a little heavy on the jingle bells, and a style that is incredibly similar to the Lower than Atlantis track, but I do prefer this one. Despite the recording/mixing seems a little harsh and thrown together, the chorus is very KIGH style; Phillips’ voice excels and the lyrics are a lot more up-to-date and tongue in cheek. I’ll be buying that when I get paid, that’s for sure, because at the end of the day, it’s fun, and that’s its purpose.

Both are now available on iTunes now to purchase, or you can YouTube the songs to check out their respected music videos for a little chuckle and Christmas cheer. These tracks may even just scrape into the charts.

Nonetheless, music aside, I wish you all a merry Christmas.

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Slam Dunk festival made its first announcement in relation to its 2013 experience this week (the festival appears to be a column regular), but I’m not as excited this year round about the initial line up, so I’m unsure if I’ll go. It’s a good mix, but not the mix for me. What did grab my attention was the confirmation of The Early November having a high slot up on the bill – which did really entice me and make me smile. It’s so pleasing to see them really getting back on the horse and with that new, fantastic record behind them, playing out old classics too; they’ll really hit the spot and be one of the best bands to see.

It looks as if the headliners next year will be All Time Low – still going strong after all these years, which is a truly impressive feet, still producing catchy pop-punk sing-alongs and touring like mad. I’m sure many will be happy with that. I do like the band, but they’re not a band I would go out of my way to see – I was able to catch them at Give it a Name one year and wasn’t disappointed, but their music has never stood out to me. The same sort-of goes for Four Year Strong, also on the bill. I like them, but not much more. Their latest record seemed to receive mixed reviews, so this performance could make or break their new sound in the UK and be a different experience to see live.

Nice surprises in Pierce the Veil performing, whom I was big on a few years back following the release of their debut album; and then it went a little bit downhill thereafter, I liked the second album a little less and I’m yet to give their latest a real listen… But I am certain they would be a very lively, energetic band, and awfully entertaining – especially to those who know little of the band.

It’s nice to see, due to phenomenal success and it’s all around coolness, that the travelling circus has added an additional date, a bank holiday Monday show in Wolverhampton prolonging the fun and allowing more fans to enjoy the sell out show.

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What I’ve been up to: The only band ever is now no more. After announcing their intent to break up on 5th August last year through a statement published on their official website (click here to read), Alexisonfire frontman, George Pettit, cited Dallas Green's departure from the band to focus solely on City and Colour, Wade MacNeil's departure to join another band (later revealed to be as the new vocalist for Gallows), and other personal issues among the remaining members as reasons for breaking up. Pettit also described the break up as not being amicable (emotions running high), with the hope to complete a farewell tour before parting ways. In reply, Green said to Spinner in an interview that splitting his time to dedicate himself to two major projects was “killing him”. Perhaps it was a reality they simply did not want to face.

In July however, Green stated he had been in contact with other ex-Alexisonfire members, and that he and MacNeil had been "starting to talk about doing some final shows, because when we did play our last show nobody knew it was our last show". And so, fifteen months after the band's breakup announcement, Alexisonfire embarked on their international farewell tour with stops in Canada, UK, Australia, and Brazil; originally announced to be a nine-date tour, but due to demand, the tour was later extended to fifteen dates, a somewhat fitting number.

My first memory of Alexisonfire had nothing to do with their music at all. As silly as it sounds now, I used to run a (moderately successful) Jeff Hardy website; yes, the “high-flying”, ten-botches-a-match, pain-killer-addicted, ex-WWE wrestler, and this was hosted by a website called Internal Disaster, which was a personal blog of some girl who happened to take a liking to the Charismatic Enigma. Anyway, one layout that Internal Disaster had saw an ambulance grace the entire screen, and across the front of it read ‘Alexisonfire’ backwards, which seriously confused me. I realise now it was more than likely in conjunction with the release of ‘Accidents’.

Musically, with thanks to the MySpace music player on everyone’s profile, I took it upon myself to cheekily get hold of a copy of Watch Out!, and have a listen to see why everyone had their songs blaring out on their personal page. I remember being shocked. Absolutely shocked. Back then, I wasn’t used to screamo, and I couldn’t class myself as a fan (to genre I would slowly see becoming a firm favourite). I could bear ‘Happiness by the Kilowatt’, which saw me play the album continuously, over and over, as the remaining songs grew on me through my iPod and cheaply bought speakers for Christmas – where I had to blu-tack its wire into the port, and prop the end of it against the wall so it wouldn’t fall out. It’s the only album I remember playing through those speakers.

This appreciation of the band slowly transgressed over to the self-titled debut, and then subsequent releases to where we are today.

Thus, Monday 13th August saw me, along with hundreds of others, flood TicketWeb in attempt to get pre-sale tickets to their sole UK show. I was at work, and had two web browsers up, along with trying to purchase some on my mobile, but I lost out, and spent the rest of the day ranting on Twitter along with the majority of my friends. They had sold out within five minutes and crashed the website in the process. As a result, the band announced that they added another London date at the same venue, a day before, on Sunday 2nd December.

Alexisonfire have always has a fantastic relation with the UK. For example, they released three live albums along with the release of third album Crisis as they toured the UK, and held a show on a boat for the album’s release along the River Thames in 2006, along with many tours and festival appearances. It was if one show would not suffice the hunger of the UK crowd.

“So we talked a long time ago about maybe doing just a couple shows to celebrate what Alexis was as opposed to have it fizzle out like it did […] It would be more about celebrating what we had and what we did and what we accomplished"

- Dallas Green

Enough with the facts, and on with the show. I acquired tickets to the Monday date, and after seeing the incredible set let and hear such tales of wonder about the previous night, I was beyond delirious with butterflies in my stomach. Final shows are such fun, the band seem to perform better than ever, but it is always a sad affair, where you feel your heart being ripped out from beneath you, as it sinks to the floor, and there is nothing you can do about it. I’ve been to several from small time Peterborough bands such as Between Broken Ashes, to mid-card UK acts, such as Londoners From Grace to one of the final festival appearances from chart toppers The Streets.

Having missed The Ghost of a Thousand due to travelling issues, I arrived amidst the buzz and murmur of the O2 Brixton Academy, anxious and sober, as the crowd waded forward to the barriers. The lights dropped and I didn’t know what to do with myself. My back did not ache for once, as I peered over to witness these fantastic entertainers, performing at truly their peak – highlighting their significance. It was, without a doubt, one of the best gigs I’ve been too – visually, they were superb (even the reused backdrop and light show pleased me), and musically, even better. The mixing was the best I have ever heard, especially for the size of the venue, and perhaps how rusty the band themselves may be.

Copyright of Laurent "Lags" Barnard, 2012: Source.

This was just not the case: Alexisonfire were superior in every field than what they were back in 2009 when I saw them last: just mesmerizing. A twenty song set featuring songs from all major records, appeasing all fans, followed by three song encore, totalling two hours on the clock was a glorious way to leave the UK, a truly respected farewell show. A highly passionate and energetic performance, with a great atmosphere (much like the hound dog gang, leather cladded band I saw earlier that day at the Winter Wonderland in Hyde Park; rockabilly at its best!). They still remained intact after the full throttle of ‘.44 Caliber Love Letter’ late in the set, and the gang vocals throughout ‘We Are the Sound’ will haunt the corners of the academy for years to come; still echoing, still ringing out.

Running wild; riding high on the wave of marvellous with lyrical ecstasy helping them harness more aggression, release more emotion, and fine-tune all the tracks, the encore consisted of one of the latest singles, the aggressive and rough ‘The Northern’, waving goodbye to what the band had become, followed by the latest release ‘Dog’s Blood’, where the crowd were silent, left with chills tingling down their spines as Green stood in a single spotlight to the left of the stage, quietly and perfectly whispered out “Howls heard for miles around. In dog's blood we will all drown. No escape, no mercy, through the ruined town. We will all bathe in the blood of hounds”.

Dynamic and intense, the set ended with an emotional, heartfelt and teary ‘Happiness by the Kilowatt’, before an electric standing ovation that seemed to last hours. I was almost in a daze the whole time, filled with an exhilarating rush from start to finish. I’m glad I had two beers by my side so I did not have to take my eyes of the spectacle for a second.

My friend Ryan told me he spoke to someone who came all the way down from Scotland on his own to attend, which shows the impact this band truly has had on the lives of people all across the world.

Green said to Spinner to finally and solemnly conclude the Alexisonfire story: “I'd like to say that we're still all pals”.