What I’ve been listening to: I fear I may have jumped ship, or at least from the ‘new’. Keaton Henson just dropped his second album, Birthdays, and I’m not convinced on its sincerity, and now whether or not I can call myself a fan. I don’t know is this is me now just getting annoyed at how recognised the gentleman is becoming musically – having been a fan since his early artistic days of From Grace record covers (remember that?), Drop Dead and Topman shirts, etc., Henson was my hidden gem. So I’ve always been possessive in admiration of his work. To elaborate, it would appear that many people I know are now raving about his debut, Dear..., and backing that love up with the sudden release of Birthdays, stating it is equally as good – not keeping that love a secret like I did, but more so because... I don’t like Birthdays. I don’t get ‘it’.

To brief, I feel Henson has hit a brick wall and we’re left with a one trick pony. The subject matter of his songs have not really evolved, as he is still playing to the same audience, in the same manner, but now simply with a backing band. The music played seems less complex, and more filling for the words – as if Dear... should be the breakthrough sophomore record. We’re left to listen to more sorrow and heartfelt woe with no ground development or addition; this time with no signifying or key phrases that really grab you.

What rather frustrated me, in fact, having already felt a little let down was Henson almost half mocks what people idolise about him with lines like “You son of a b****, stop writing songs like this, you think you’re better than them now, but they don’t have to pretend” (‘Kronos’) – to me, that’s possibly his old flame telling him to grow up, and to not glorify his misfortune and teenage misery that many go through and not ‘moan’ about. ‘Kronos’ itself is my favourite track off Birthdays, and is a grungy roll of thunder, but not really ‘enough’; the album is full of experiments that don’t quite pay off. Zane Lowe called ‘Kronos’ a “wonderful and remarkable surprise”, but with regards to the entire record, released several months after this quote, it’s just ‘Kronos’ that attracts attention. In anticipation, I was getting somewhat enraged by the negative reviews of Birthdays by big music critics, seeing 5/10, or three starts, but I can see why, and it’s almost as sad as Henson’s previous music… The lesson I’ve learnt here is that patience is a virtue.

It was like a b-side or demo tape that he was forced into rushing and releasing to keep a roof over his head. I suppose I was expecting a lot more from an artist as talented as Henson.

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Sophomore dropped a new record recently, and called it The Blue – the name taken from the opening line of the record, in ‘Young Adult’ we hear “Fell into the blue!” belted out to us after an intrinsic and delightful melodic introduction. For those who don’t know, and sadly I feel that’ll be the case of many, Sophomore if the side-project for Alex Sears, frontman to pop-punk titans Decade – whom I can’t seem to shut up about.

It’s amazing what a teenage boy can do in his bedroom when one is “lonely in [his] room” (‘Young Adult’), and isn’t tempted by apathy – the entire record was self-recorded, with Sears engineering every instrument himself too, the end product being an alt. rock chunk of gold, with a little emo sparkle. The likes of Rock Sound are even fully backing this project; hailing him as one of “Britain’s most promising songwriters”, and it’s easy to see (or hear, rather) why. His music is deep, relatable, and inviting in his angst, which is the key – it’s a mood changer; a thinker. Critics claim The Blue is a “punchy effort”, acknowledging he is trying something different, which always takes time to perfect. Then, reading more reviews, I see the words ‘deep’, ‘infectious’, and ‘emotionally charged’ dropped time and time again.

“Sophomore is more or less just a way to flex my creative muscles. I love having the option to write any style of music that I want, without the restraint that you might get with a full band each with their own voice and opinion. The songs on this EP are about a number of different things that have been going on in my life over the past couple of months or so. The beauty of writing and recording your own music by entirely your own means is that you can share your feelings and emotions with someone instantly; I could write a song today and put it out tomorrow while the theme of the song is still fresh in my mind. It's a good way to vent for sure"

- Alex Sears

It’s a shame, in a sense, that Sophomore (despite not being too different in style) will never stand alone, and away, from Decade, in the same way, Frank Carter will always have Gallows mentioned in the introduction to Pure Love pieces/articles, because it deserves to be seen as a separate ‘entity’. Even Richard Carter, his younger brother, would’ve had the fact that two of his older brothers were of Gallows fame before Blackhole, his own band, are mentioned – I don’t even know if they’re still going actually... But! Nonetheless... Conclusion: It’s superb! Be sure to check it out, and download it, for free over at his Bandcamp page: click here.

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That new Fall Out Boy album is pretty sweet too, isn’t it?

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Everyone has that one person they wish they could be, be it have their looks, their style and wardrobe, or it all – their entire life. For me, that person is Daryl Palumbo, and personally, I’d take whatever I could get, even if it was just his fridge content, I’d probably settle for just that. The man is as restless as ever: as soon as one project is done, or rather a record is released or a tour is over, he’ll start with something else, and of course he has that damn knack of making whatever he touches turn to solid gold.

Palumbo announced last year on his Twitter account that he and friend/ex-Men, Women and Children member, Rick Penzone were entering the mixing stages of their first LP with a new project, called Color Film. The duo first featured on the track ‘It's a Lie’ off of Nick Hook's Without You EP (I’m currently downloading this now as I type, so I’m not sure what to expect – I may write about it in the future!), and then on 18^th October 2012, Color Film played their first and only show at Irving Plaza, New York. It’s Palumbo... Where else?

Along with the announcement of the show, the band's site went online, revealing their debut full-length details and a download of the track ‘52 Minds’ in exchange for a scratch off ticket code. ‘Bad Saint’, another track from the record, became available for streaming on Color Film's Soundcloud page shortly after, but now they’re both easily accessible through YouTube or anywhere really thank to the internet. I myself am really, really, really digging ‘Bad Saint’. It’s understandable now why Paulmbo is often spotted rocking a Tears for Fears t-shirt at live shows, because they are an incredible influence on this project, along with the likes of UB40, and The Police, there is this awesome vibe to the two songs – almost atmospheric like in Coloring Book, most notably ‘Black Nurse’, where you can picture the sounds bouncing off the balls with reverb and style.

The coming album, entitled Living Arrangements, was produced by the duo and mixed by Gareth Jones (an English music producer and engineer notable for working with Depeche Mode, Wire, and Erasure) and is expected for a 2013 release. I can’t wait.

In the mean time, the man oozes groove and propels class through a different project – this time, one by himself. Palumbo, the other day actually, released an electro/house-esque joint on his personal Soundcloud page (again, now available on YouTube, etc.) which really leaves the body in a spasm. The track ‘Don’t Leave Me’ is repetitive, 90s New York reminiscent with a new age gloss and perfectly documents the man’s genius. It’s an addictive one, that rings through your head until you go to bed.

Also, as it was recently the tenth anniversary of Glassjaw’s Worship and Tribute masterpiece, the band released a new line of merchandise through their MerchDirect store. I picked up this lightweight navy ‘coaches’ jacket, for roughly about £65-70, because it looks absolutely awesome which features personalised stitching; very cool in more ways than one – perfect for spring. It’s just a shame it sold out so quick, and when I went to buy it, the large was already out of stock; the medium fits, and only just, but I can’t really see myself parting with this jacket. Let’s just hope I don’t grow anymore or anything!

Note: Hit me up if you have the jacket in large and want to make a trade! Haha.

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Defeater’s frontman Derek Archambault is another to emerge from the shadows with a solo side-project this year, in which he is calling Alcoa. The name derives from “one day, while driving through Alcoa, Tennessee, I decided on the name and started the process of figuring out how to not write a loud punk or four-chord jangly pop song" – that simple. The singer/songwriter’s side-project can actually be dated back to 2002, whilst on tour with various bands, according to record label and supporter, Deathwish: At that time, he found himself listening to more and more artists like Gram Parsons, Elliot Smith, Johnny Cash, Rocky Votolato, and Ryan Adams, and "…wanted so badly to be able to write songs like that”.

Their press release continues: Archambault's love affair with music started at a very young age, as his parents were huge fans of music and constantly surrounded him with it [...] He cites artists such as The Clash, Bruce Springsteen, and Todd Rundgren as life-long influences. He commented, "Those are the three big ones that still influence me and bring back the best and earliest memories of falling in love with music. They all have such unique styles that weigh heavily on how I approach a lot of what I do musically”.

Now, of course, we got our first real dose of Archambault's solo efforts through the release of Defeater’s debut album Travels, but then again in 2011 when his band dropped the follow up Empty Days and Sleepless Nights – which featured a separate four-track album dedicated to acoustic storytelling and effort that put a lot of emphasis on Derek's actual singing ability, which he commented, “releasing the acoustic album on Empty Days, definitely made me much more comfortable with my voice".

After countless years of keeping Alcoa on the backburner, and silently selling some of ancient Alcoa demos whilst on the road, the recording finally went forward for a debut album in early spring of last year – recorded in and around Portsmouth, New Hampshire, Archambault's hometown. Just under a year later, Bone and Marrow was released, displaying a voluptuous use of the upright bass, banjo, fiddle, pedal steel, piano and organ, amidst others to complete this smooth, folk record.

I suppose it’s not my style really, ‘cause at the end of the day, I didn’t really dig this record; I didn’t like it and it won’t surprise me if many feel the same. I’d say it’s more for the older generations – those already in hardcore bands on their way out, those old tattoo shops that need a great background noise to fill in the cracks of conversation – and this is mostly due to the influences that helped construct this record, but also that it is clear Archambault did not want to have anything on this record tied against Defeater. That is where many will probably turn their speakers off mid-way through the album after the first listen too, because not one track is like ‘I Don’t Mind’ or even ‘Brothers’... It’s not at all like the acoustic treasures at the end of Empty Days and Sleepless Nights. It is completely different; I find it hard to find much that the two have in common, as even the vocals sound different. It’s as if Archambault’s former self has had a greater influence having been locked away for so long and is finally able to reveal his past... "I've been telling myself for about ten years that I'm going to put out a record under the Alcoa moniker, and now that I've gotten a lot more comfortable with my voice, it seemed like now was as good a time as ever".

I respect this record, but I know it is not for me. Naturally, any writer can big up any musician (or confuse in this case!), so to truly judge for yourself, you’ll just have to have a listen to Bone and Marrow as soon as possible to make the call.

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I’ve been listening to Signals, the debut album by UK hopefuls Mallory Knox, and I am more than impressed. They’re close friends with the likes of Tu Amore and We Are Fiction, but I was slightly temperamental about checking out talent recommended by bands simply because they have played shows with them, but, finally succumbing to pressure and the praising words from the majority of my friend base over Twitter, wow... Wow.

The band’s catalogue is just full of anthem-like, epic, big songs, and nothing less. It’s really easy to see how they worked their way up the ladder so quick. My favourite track off the album is ‘1949’: it has this beautiful acoustic guitar carrying the flow throughout as we engage with melodic fillers, honest lyrics and as expected, a crashing chorus, with a fantastic key line, “You’re as beautiful to me as when you were young”, which echoes through the listeners ears time and time again, bound to have them smile and think of someone close. My friend Phil said once, whilst ‘Lighthouse’ was playing in the background on a music channel, that Chapman just knows how to write, and of course, the merit he has received as a result proves this. Delivering hooks in more ways than one. It’d be nice if aspiring songwriters could take a page out of his book!

Finally, also, congratulation to them too! Earlier today I saw on Facebook that they have signed to Sony Music, through Search and Destroy Records – a momentous achievement for a band that started from the bottom and, lovingly show that hard work, passion, and determination pay off, or as they said in their own words, “dreams can come true”... Theirs, and Gabrielle’s.

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Thought of the month: Evita’s ‘Vona’ is still an absolute banger.

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When ‘Guns and Horses’ came out several years back, I had this massive crush on Ellie Goulding, and I mean massive. Thankfully, as the years have gone by, and her wardrobe of weird ex-boyfriends fills up, I am more mature and human when discussing the lass and can write this segment calmly and properly. So this month, Nike has released a free download in collaboration with the uber-babe’s latest album, Halcyon, to help encourage fans to start running. To be short, Goulding is a big runner, and isn’t shy about making it public – and with the help of Nike, they have been holding runs and the like for some time. The new approach is to create a soundtrack for runners to get up and out to, and, to great success.

The result is one solid, hour long track, that’s had various DJs remix songs, resulting in something very clubby more than anything else; you’ll find yourself moving from side to side or throw your hands up in the air at times without realising. The key word I used earlier was ‘soundtrack’, as it’s a background filler to your running spirit, with a good beat to keep you going and enjoying what you’re hearing; it’s not a distraction. The track is very modest therefore, and blends incredibly well – it does perhaps drag on in several places on certain songs, much like Goulding’s Run Ito the Light remix EP released a few years back, but that is the point for those cross country, there for long distance ventures to spur you on.

The clarity in Goulding’s words take a back seat in this remix, and structures are completely torn apart before the final two ‘songs’; you can tell it’s been remixed well as approaching the end, the ‘songs’ are soft, really easy to listen to with no jumpy spots and just held you wind down and out. End race. To have a listen or download it for free, check out the following link!: click here.

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So, I picked up one of those free magazines that most ‘hip’ stores have laying around the other day whilst accompanying a work college of mine on our lunch break to some shoe shop, Office. In the bottom corner, the cover read: ‘Interview with Pure Love: rock’s new saviours’. Hmm… I thought. “Saviours” of rock. Does rock need saving? Is it in trouble? Saving by a band that sounds a little mixed up in sound – that doesn’t attract the mainstream? I felt it was such a narrow minded and ignorantly blind opinion – just a pathetic excuse for a tagline. Christ, I don’t know why it made my blood boil the way it did. Perhaps I was just jealous.

If we are to look at the stark basics, and briefly, rock is in the charts more so than what it has been in previous years – with emergence of the underground scene through the likes of Deaf Havana, While She Sleeps, Don Broco and Lord knows who else. The last sort of massive burst was through Green Day with ‘American Idiot’, as far as I can think back… It’s being saved currently, without Pure Love! This is not a dig at the band, mind you – I quite enjoyed Anthems, but I stand firm when I say it will not be defiant and single handled change music and UK listening patterns.

You’d think by issue nineteen Office would’ve sorted out the basics of a worthwhile interview. The interview itself was dreadful, and the answers were just as bad. I didn’t quite get why dropping in the lines “Jim is from the US” and more importantly “Jim played guitar for The Hope Conspiracy” were deemed necessary; no one knows, or cares (Well, I do, but y’know, how many Nike Blazer wearers sing along to Death Knows Your Name in the shower?), and it was just a terrible filler. Bleh. Argh! I best not start to pick it apart, especially here – I’ve been doing so in my mind for the last week…

I don’t mean to be ‘that’ kind of critic, and comment so negatively on others… I guess it just got to me. But to sum up, rock is doing just fine. F*** off, Office, and do your homework.

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Another thought of the month: That intro to ‘Fever Dream’ by Bury Your Dead is so damn heavy! Big fan.

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I’m back on the bandwagon… Bring Me the bloody Horizon. “Now… Bring me that horizon!”, Captain Jack Sparrow bellows as Pirates of the Caribbean concludes (it’s the final line, init), credits roll, and epic music rallies us out of the cinema seats and into the car park. The final release I’m going to discuss quickly is Sempiternal (which means everlasting to those who just talk normally). Now there was a lot of talk surrounding Jona Weinhofen and his sudden departure, and how much impact he actually had on the album despite all his hype for building it up, stating it’d be a lot more atmospheric (which it was), or the internet war Oli Sykes had with that alternative model Jessica Clark over the album’s name origin, etc., but let’s not dwell on the negative and just look at the fact: this album is great.

Normally I would discuss those points more, but I think something is wrong with me. I am going to be really short with this one. The mad reviews and fact everyone is plugging it, talking about it and listening to it should be more than enough backing to give it a go, disregarding your previous opinions or even assumptions. There was me thinking they couldn’t get any bigger... It’s only just beginning.

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.