Ship to Shore – Let’s Not Get Caught

When members of beatdown pop-punk band Bradley Arise joined forces with Andy from melodic hardcore band The Legacy it was inevitable the outcome would be the melodic pop-punk genius that is Ship to Shore. Let’s Not Get Caught is their debut release on Broken Night Records.

Title track Let’s Not Get Caught starts off in true punk pop fashion by celebrating the summer. Chuggy guitars, contagious hooks and fluorescent vocals gets this EP off to a strong start. The chorus is utterly infectious and will spread through your skull like the plague as it devours your braincells.

See You Around reminds me of Fall Out Boy’s early stuff. Add a little blink 182-esque riffery and a bass solo in the middle and you have the perfect mid-tempo pop song about girls and all that sort of stuff ready for making hormonal fourteen year old girls wet themselves in excitement.

The third track Hook Line & Sinker is my favourite song on this EP. It starts off with flickering drums leading in to vocals where Myke reaches a note which I didn’t think was possible for a post-pubescent male to make. Amongst snare fills, tempo changed and texture switches Ship to Shore keep you engrossed as though you don’t want to miss a millisecond.

I’ll Find You and Too Little, Too Late are the final tracks of the EP. I’ll Find You swoons with an intro on acoustic guitar which leads in to the explosive pop noise that has come to expect with Ship to Shore. Too Little, Too Late is easily the danciest song on the Let’s Not Get Caught and makes you unknowingly nod your head up until its epic ending.

This EP from the Sheffield quartet is pretty much flawless. Entwined in every song is everything you would want in a pop-punk song along with ultimately unblemished musicianship.

Do it

Pre-order the new Ship to Shore and Rip it Up releases
Ship to Shore through Broken Night Records
Rip it Up through Dead End Records

Fast Point Release Show pt2

Fast Point Release Show pt1

All these photos are by Sam Wright.

The Legacy’s last show

This was a strange show. A Sheffield band that lives in the south playing their last show in Leeds. As I said it was in Leeds so you’re bound to expect a large gathering of trendcore leaches percolating the atmosphere.

The first band on was called Burn Alaska. We didn’t get to see them because we got lost in Leeds. However we did make it for the second band Dungeons, who were noteworthy. The singer had an Unbroken shirt on which won me over before they played a note. Their set was really energetic full of noise, chaos and cool effects making them stand out from the crowd. I really wish I’d got in to them more because this was their last show. Out of all the support bands they were easily the best.

Almost Home were a bit melodic. Not too much mind. They were ok, the singer kept jumping and spinning round in circles. A bit tedious, a bit drab.

Brutality Will Prevail have a terrible name. I went to get a cup of tea instead of watch them.

The final support band were Daggers. Musically they played hardcore punk with a bit of crust mixed in for good measure. Not too interesting on the listen but to watch them is something incredible. A Daggers live show is an experience. The guitarist runs at walls, the singer stares at you as though he’s ripping out your soul and the bass player stops playing, puts his bass on the floor and stands still for a good few minutes. Sensational.

I felt kinda bad for The Legacy to have this as their last show. Not that there was anything wrong with it but it didn’t feel like a last show. I’ve been to Legacy shows in the past where there’s been a better crowd that have gone ten times more mental than what people went for them. Adorned in all black mourning wear they played a song off the album leading in to We Gave it Everything forcing people to start moving. I think that a lot of people at this show were pretty new to The Legacy and didn’t seem interested in any songs they played pre-solitude. Nevertheless The Legacy played one of the best shows I’ve seen from them in a long long time as though they had a new lease of life. Shame it had to end.

Interview with Justin Pearson

So, you recently played two shows with Swing Kids, how did it feel to play music you haven’t played for over ten years and how do you think the shows went?

Well at first, it took a lot to convince me to do it. The obvious thing that made me oppose it was the loss of one of my best friends who was in the band. Also, I think reunion type shows are just cheap. But I talked to Rob Moran in great depth about it and the things that persuaded me to do the show were the fact that unbroken was playing as well, that all proceeds were donated to charity, and that swing kids got much bigger after we broke up making it impossible for people to have seen the band live. When all is said and done, it meant a lot to me personally to play those songs again, but musically I feel that the music does not hold up to the test of time.

Will there be any more shows or a new swing kids release in the pipeline?

No more shows, ever. There were two songs recorded and should come out as a 7″ single at some point on three one g.

What made you decide to bring Jimmy LaValle of The Album Leaf in to the equation for the second incarnation of Swing Kids and how do you think he affected the live shows?

Jimmy was actually in Swing Kids for the last few shows that we played, originally. Not only that, but he was in the crimson curse, and The Locust as well. So it made sense all around. As far as it affecting the live shows, it was fucking weird to play those songs without Eric.

Your new band All Leather has a slightly mellower feel to the bands you’ve previously been in, what are we expected to hear from the new EP that’s different from your previous work?

I’m not sure what you mean by mellow. Especially compared to all of my previous bands i have been in. At this point, there are only a couple songs for the public to hear of all leather. As far as what is expected, besides “mellower” I’d have to say that it is entirely different from my previous work, which is a good thing as I try to steer away from doing the same stuff over again. I suppose this is a question for the listener, the critic, and so on if you want detail as to what it sounds like.

And when will you be coming back to the UK?

Looks like All Leather is shooting to come over in Sept just after our EP is released.

What are your Top five albums at the moment?

Deicide “Best Of Deicide”, Yeah Yeah Yeahs “Its Blitz”, Bastard Noise “Rogue Astronaut”, Bill Monroe “The Music Of Bill Monroe”, Crime Desire “Crime Desire”.

How did you and Wesley Eisold first get in contact with eachother when you set about making Some Girls and what were your original intentions with that band?

We were both friends with Rob Moran. The band was actually formed and had a 7″ out before I joined. They recorded the first EP and played one show before I joined the band. So the original intentions or conception behind the band had nothing to do with me.

Why did Some Girls decide to call it a day?

It was time as the band had run its course.

You’ve been in numerous bands at the same time; do you think this takes a toll on your creative output rather than concentrating on just one band?

Sure, to some extent. However, I have never been in more than two full time bands at once. I think with The Locust and Some Girls, that was the only time I had been in two full time bands with the exception for now as I’m in The Locust and all leather. But with say some girls and The Locust, it was two entirely different bands, same with The Locust and all leather. Even if the bands are different musically, I have somewhat different duties in each of them.

The Locust have been fairly quiet record-wise recently, when can we expect new stuff by them?

Well we are writing a new album. However Bobby is in school full time, so it’s moving along much slower. Not to mention we are pretty anal about our writing process. On another note, we are going to be releasing a peel session that we recorded in 2001 on our label, Radio Surgery.

What’s the difference between Radio Surgery and Three One G, surely you’re running both?

Well Three One G is a label that I run with Sal Gallegos and Mike McGuire. Radio Surgery is a label ran by the locust and only releases the locust’s stuff.

The Locust’s songs require a high amount of technical ability in songs that rarely last over a minute, how do you fit it all in?

Lots of rehearsal I guess.

Would you rather play bass or would you rather be lead vocalist in bands?

They both have their perks and enjoyable aspects.

There is little known about your first band Struggle. What sort of music did you play and how do you think your views on the music industry have changed since then?

Well that was formed a long time ago. I was 15 when I started playing with that band. As far as how the industry has changed, well, its almost an entirely different world. Anything from the evolution of music, to recording techniques, to cultural progression or regression (depending on how you look at things), to the internet and file sharing, and so on…

Last year you worked with Bastard Noise, how was that different to working with the guitar based bands you’re normally associated with?

Well the track that bobby bray and I sang on was already tracked. We just were asked to add vocals. It was not all that different from what I normally do. There has been some material that was not as traditional as far as instrumentation goes with the locust, all leather, and holy molar that I have been part of. So it was along the same lines of what i have done before. Also, the lyrics were given to us as well. We just had to sort out placement and then  vocal delivery and technique.

What made you want to start 31G and out of all the releases, which one are you most proud of?

I started three one g mainly because some of the records I was on previous to me starting a label were pretty half assed and I realized that I could do what others were doing, if not better. As far as which release I’m most proud of, I can’t answer that. Almost every release is something that I’m so proud of, even if I’m not on the recording, or if I had nothing to do with the record artistically. Just three one g as a community, of family, is what I’m entirely proud of and proud to be part of.

Out of the bands you’re currently in, which one are you focusing on most at the moment?

I’m only in the locust and all leather. Both get equal attention from me.

Overall, what are your main musical influences?

Honestly, I can’t answer this. Not only have I been influenced by an onslaught of music over the course of my life so far, but I think I’m musically influenced by a slew of non musical things in the world that I live in.

So around ten year ago now you went on the Jerry Springer Show, how did all that come about and what made Scott Beibin come up with the story for it?

Scott and I were in San Diego shooting the shit and the show was on the television. It had that segment at the end of the episode to call, which prompted us to pick up the phone and throw some bullshit story at them. They obviously bought it and that was that. Scott and I actually scripted the episode over the phone when we were both on other lines with the producers.

In the 90’s you were a huge influence on the screamo scene, what initially made you want to make that kind of music?

I’m not sure when I was playing music in the 90’s that the term “screamo” existed. And ill argue that I was not in a “screamo band” until the day I die. I think that what people see as screamo is sort of second rate to what generally influenced that “genre” of music. To me, the bands and style of music in question here, is just punk and hardcore to me. Now, what is labels as “screamo” just seems like “garbage” to me. Its like a poor mans Antioch Arrow or something. And as far as music goes, the 90s were pretty grim in my opinion.

And finally, what’s it like being known as a “legend”?

Haha. Thanks for the compliment, if that is in fact one. Being known as I am, well, it means that I get to hear that I’m a dick, a sellout, that I suck, and what I do sucks. But at the same time, I get to be part of a culture that is important to music history. I’m lucky to have been around for what I have been part of.

Interview with Andy Boswell

I suppose the first question has to be, why are the legacy finally
calling it a day?

Well we’ve been a band since June 2002 and we’ve done almost everything we can do as a band. We’ve done 3 EPs and an album, toured the UK & Europe loads. The only thing we really wanted to do was an American tour but its a hard thing to do and not many UK bands do it.
What were your intentions when you first started the legacy and do you think you achieved them?

We just wanted to play some shows and have fun, and record a demo. Things just kinda took off really quickly for us. We were friends with The Last Chance and their singer runs Dead & Gone Records. He asked us to do a EP and things just started there. I think we’ve easily achieved everything we wanted to do when we first started but as we went on our goals changed, like I said the only thing I think we’ll all regret is not being able to get over to the States.

As you got bigger and signed to Visible Noise, do you think that your reception from the “hardcore” clique changed?

I don’t know really, we’d been kinda hated in the scene before we’d sign to VN anyway. A lot of people that liked us when we first started playing shows stopped liking us after our 2nd EP “We Gave It Everything” came out. People didn’t like the direction our music was taking and then obviously once we signed to VN people had more reason to hate us. I think now though that people have stopped kinda caring what we do. We have our fans and they like us, the people that hate us, hate us no matter what we do. We’ve never really cared, we just want to have fun, playing shows and touring.

What do you think has been the best ever show you’ve played with the legacy?

I really couldn’t pick just one, there’s been so many! We played with Rancid in 2003, that was awesome. We played Leeds Festival, that was one of the best shows ever. We’ve been really lucky that we’ve played with almost every big US band that have toured, Give Up The Ghost, Count Me Out, Comeback Kid, Bane, Life Long Tragedy, Killing the Dream, Terror, Champion and Striking Distance. We were lucky enough to do 4 dates on the Bring Me the Horizon tour last October. Those shows were really good. We didn’t have to worry about if people we’re going to show up or anything, we just played and had a good time.

Over the years how do you feel you evolved musically?

I think we’ve changed as we’ve got better as musicians and also we’ve had a few line-up changes with guitarists so that obviously changed our sound. We changed bass players once so that made a difference too. Just having 4 or 5 people with different musical tastes and background trying to write songs together is going to make your band have a certain sound and if you change one of those people you sound is going to change.

We all know that you’re running broken night and playing in ship to shore but what will the other members be doing post legacy?

Steve (who was in Cry For Silence) now plays in a band called Spy Catchers, indie rock kinda stuff that features members of Gallows & Cry For Silence. I know Joey (bass) is going back to Uni in September. I heard that Adam & Dick have got a new band together in Brighton, I not heard them but I’m sure they’ll be amazing.

How did ship to shore start and what made you want to start playing pop punk?

Well Ship To Shore started when the band Bradley Arise broke up. They got a new bass player and wanted a new drummer. I’d know Matt for a couple of years and he asked me so I decided to do it. Before The Legacy I used to be in a pop-punk band. Pop-punk music is what I grew up on, my favorite bands back in the day were Green Day, The Ataris, Blink 182 and New Found Glory. It wasn’t really a big change to start playing pop-punk again, I’ve always been into pop-punk and still listened to it while in The Legacy. Ask any hardcore band what they listen too when they’re not at shows and it most likely won’t be hardcore haha. Not because we hate it or anything, just because when you play hardcore and playing shows with 4 or 5 other hardcore bands the last thing you want to listen to on the drive home is more hardcore.

What are the main influences behind ship to shore?

Well I’d say the main bands we’d all agree on would be; New Found Glory, Fall Out Boy, Brand New, The Early November, Blink 182, Hit The Lights & All Time Low.

You recently parted ways with former vocalist Matt, what was the main decision about becoming a four piece and how did you break the news to him?

We just had difference’s in musical taste and in what direction we wanted the band to go. Break the news? We invited him out to the pub, nice neutral place. He understood and felt the same.

With your musical background and Shane and Myke having a background in metal, how do you think this has affected the music ship to shore make?

Well like I said I’ve been into pop-punk for years and so have Myke & Shane. I think at the time we were all starting bands we just didn’t have anyone else that were into pop-punk so we started different styles of bands. Myke & Shane were both in Bradley Arise which started in 2006. I think been in different kinda bands has helped us learn how to play and write songs. It doesn’t really matter what band you play in, you still get good experience of playing & writing songs, learning how to get the best sound out of your equipment and stuff.

When is the Ship to Shore EP going to be released and what can we expect from it?

Well as we speak we’re in the middle of recording our new EP. We’re recording at Axis Studio’s in Doncaster. Matt is the best guy ever, he knows what he’s talking about when it comes to pop-punk and is gonna make us sound like we know what we’re doing haha. He’s recorded Summerlin, Chasing Amy and All At Stake so we knew he’d be a good guy to record with. What to expect? The songs are a lot better than the last one’s we wrote (if i do say so myself). We put more time in to writing the songs and wanted to write songs that were more like the bands we listen too rather than what a lot of other bands are doing at the minute. We’re really happy with what we’ve recorded so far, we’ve got most of the music done and it sounds amazing already.

And will it actually get released unlike the last one? haha

Yeah it’s going to be released in September. We haven’t got a date yet because we need to sort out artwork and pressing stuff but it will get released. Just keep checking our myspace & Broken Night’s myspace for details.

What originally made you want to start Broken Night Records?

I’ve always wanted to start a label since I first got into music. I’ve been playing shows for years I see a lot of bands that are really good that should be released but they get overlooked for other bands that have cool ex-members or are friends with people that run labels. Me and my friend were talking about starting a label around the end of last year and we just decided to do it. We both have the knowledge and experience to do so we thought we’d try and see what we could do. So far things are going really well.
Is it purely punk pop bands that you’re going to be signing?

Not at all. We’re into signing any band that we like the sound of, whether it be pop-punk, hardcore, emo or metal. We’ve had offer’s to put some bands out that probably would’ve made us a lot of money but we didn’t like what they were doing so we didn’t want to work with them.

What bands are currently on your roster and releases can we expect from you?

At the moment we have Ship To Shore and We Still Dream. We Still Dream are a 5 piece Pop-Punk band from Jacksonville, Florida. We’ll be releasing their debut EP “Oh Snap” later this summer, everyone should keep an eye out for it because it’s gonna be a big hit, get on it before they explode! We also might be doing something special for the last ever Legacy tour, but thats all I can say at the minute about that, just keep an eye on our myspace page!

Apart from yourself, who else is on the broken night team?

At the minute working for Broken Night is myself and Shelley. Shelley mainly works on the PR side of things, as that is where she has experience from working at other labels. We get a lot of help from other people we know that run labels. Andre at Anchors Aweigh and Julie at Visible Noise have both been really helpful to us and we can’t thank them enough.

Death is Not Glamorous Interview

So, Soft Clicks has been out for a good few months now, how has the overall reaction been to it?
I think it’s been pretty good. I don’t know anything about the numbers, but I am happy with the LP, I think it turned out really well, especially when I think about how fast we recorded it. I had my doubts, like I always do, but yeah, I am happy with the results. I guess other people are too, and that’s cool.

How would you rate the album in comparison to your previous releases?
I think it has some of my favorite songs to play on it, and some kind of ‘flow’ to it that our previous releases haven’t had the requisite length to have. Otherwise, ‘whatever’.

DING have a close relationship with Dead and Gone records, how did you two originally start working together and has being on D&G provided you with any advantages over the years that other labels may not have provided?
Even played drums in Damage Control, who did stuff with Dead & Gone, and that’s how that relationship came about – Ian D&G put out our first 7″, and just kept doin’ us right. The label that put out our demo as an EP in the states, State of Mind, was a fucking gyp and we haven’t been too happy with the other stuff either, but Dead & Gone is solid gold. I don’t really look for much in a label, it’s definitely a symbiotic relationship where the band and the label both benefit (ideally) from it – we’ve definitely done so. Shit is almost always on time, done right, straight up. Good label.

When you first got together, what sort of music did you intend to make?
This.

Do you think the way you write lyrics and topics you write lyrics about have changed since you first got together?
Yeah, I think to an extent I’ve developed the way I write. I think I have written with a lot more thematic and stylistic variations for other lyrical / musical projects.. death is not glamorous kind of has a thematic focus, and it’s probably the closest linked to how I feel on a day to day basis, although I have to admit, I had been aching for an outlet for more negativity and aggression until recently..

What are you favourite five albums at the moment?
Dinosaur Jr – Farm
Taake – Taake
Iron Age – The Sleeping Eye
Good Luck – Into Lake Griffy
Dillinger 4 – C I V I L W A R

Who’re your main musical influences?
Andrei Chikatilo
You seem to be touring constantly; do you ever get fed up with it?
Nope, I fucking love it, the last tour we were on, I had to write two term papers and fly home halfway through to take a Persian exam, and it was still fucking awesome. It is such a great way to see the world and encounter different people and cultures, scenes, bands, food, bring it on. Fucking hate German gas stations though.

When you’re not touring, what do you do for fun/to relax?
Bike, swim, gym, read more books, play in other bands (Check out PROBLEMS from Oslo, soon), clean my room (if it’s not clean, I can’t relax), talk about playing videogames but never really play them, eat pizza.

When will you next be coming to the UK?
I don’t know, but I hope the weather will be nicer this time.

I’ve seen you have quite a healthy collection of photographs under your belt, what original inspired you to start taking pictures?
My family has always been into photography.. the apple doesn’t fall far from the tree, I guess.

Have you still got your PMA?
I’m still here, right? Mos def.

Interview with James Spence of Rolo Tomassi

Your music has been described as ‘too metal for indie kids and too indie for metal kids’ which I think is a load of shite but how would you describe the music you make?

We’ve settled on the term ‘progressive hardcore’ We don’t want to shy away from the term ‘prog’, which I think a lot of modern artists do, as a lot of our influences are based in that genre. With regards to metal, none of us has a huge background of listening to metal really…

How old were you all when you first started rolo and what what did you initially intend your music to sound like?

When we first started we wanted to make really fast, harsh and short songs. We’d all just started listening to super aggressive music and thought it was awesome and that we were being really controversial by playing 30 second songs. Obviously, that wasn’t the case at all but it was fun at the time.

How do you think the music you make has changed since then?

The songs are a lot more developed and, dare it say it, mature. We have a much clearer idea of how we want the band to sound now and are all in a much better position to get the best out of our instruments individually.

Going way back you played guitar on Oli Sykes’ electronic project; how many tracks did you record and what originally made you want to collaborate?

I spent a fair bit of time with Oli and he was really keen to make different music to what BMTH were doing at the time. This was a long long time ago, probably around the time they released their first EP. We did a couple of practices and maybe recorded 2 or 3 songs. It was just fun, jamming out music that was totally different to what we were both doing with our respective bands.

You used to write and record your own acoustic music; what were your influences for that and why did you decide to stop?

I stopped mainly because I wanted to be thoroughly focused on Rolo Tomassi. The acoustic thing was a stop gap for me inbetween the first band I did splitting and RT starting. I wanted to carry on making music. My influences were stuff like Owen, Death Cab, Jejune and Christie Front Drive.

Hysterics has been out for almost a year now. When do you think Rolo Tomassi LP number two will be released and will there be much change musically?

We’re writing the second record now with the view to have it out in early 2010. Musically, what we have so far continues in the direction we took with Hysterics but leans towards the more jazz/groove styles in songs like Fofteen and Beatrotter but its still early days and I can’t predict how the whole record will sound!

What did you initially think when more mainstream magazines such as NME began to show an interest in your music?

I was shocked and surprised more than anything. Considering how we sounded and that we were doing small shows that we booked ourselves, it was strange that they wanted to cover us.

Do you get annoyed by the fact that a lot of people only seem to concentrate on the fact that Eva can be female and scream at the same time?

It’s an odd one that I’m sure people will never drop. As boring as it is to see written down, if it means people remember our band then so be it.

You played endlessly and played as a session musician with I was a Cub Scout, do you think you will ever collaborate with either Todd or Will in the future?

I’m still in touch with both of them following the split and they both have their own projects going on now. Since all that happened our band has become much more of a full time thing and especially right now with our focus being writing our new album, I’m not sure I’ll have much time to collaborate! We’re still in regular contact though and Todd is great for advice about keyboards so I guess in that way we’re almost still working together…

So far, what has been the highest high from playing with tomassi?

Getting to go to America was unreal. On a more basic level just the notion of getting to tour really often still blows my mind.

and what has been the lowest low?

I can’t think of much really… Maybe getting turned away from shows we turned up to play because we were too young at the time.

The last time I saw you play there were countless people showing the metal sign to your music; do you think that the reaction from the crowd has changed recently and do you think different people have started turning up to your shows that wouldn’t have previously?

Yeah it’s strange how it’s changed. I think the metal horns is something that mainly happens at bigger shows and is a characteristic of more commercial heavy music. When we’re being covered by magazines like Kerrang it’s not that surprising to see it at our shows and I don’t really mind. If someone wants to show they’re having a good time by banging their head and throwing the horns its fine by me.

What initially got you in to keyboards and synthesizers?

I’ve played piano since I was about nine but band wise, I was fascinated by all the keyboard sounds on the first Murder of… 7″ and it made me want to add that element to our band. More so recently I’ve gotten into a lot more synth heavy bands like M83 and Goblin. I think there’s something about keyboards and synthesizers in terms of atmospherics that you cant make using a guitar. It adds an almost cinematic feel to the music and with the sound we’re going for that’s what we want.

What is your set-up keyboard/synth-wise?
Currently I use a Yamaha CS5 and a Microkorg live going through Boss MetalZone, Boss DD6 and an Akai Headrush 2 pedals. I recently bought a Roland RS 09 and will no doubt be using that in the new material and in future live sets.

What are your top five albums?

This is a question that would take me forever to answer truthfully. I’d have to go through all manner of processes to establish it so I’ll do my recent top 5/top 5 I’ve been listening to lately:

The Shitty Limits – Beware The Limits
Final Fantasy – He Poos Clouds
Goblin – The Goblin Collection
Architects – Hollow Crown
The Maccabees – Wall Of Arms

What does it feel like deserting the beautiful, picturesque hills of Stocksbridge for Nottingham Shottingham?

Awesome! It’s great to walk 10 minutes from my house and be in a city centre and have everything so close. It’s a fun place to live but I’ll be moving home for the summer.

When you’re not on tour or playing shows, what are you doing?

I’m living in Nottingham, working full time in music promotion and trying to DJ as much as I can.

Who would you say your main musical influences are?

My main musical influences, and this doesn’t necessarily mean I try to recreate what they do or that you can hear it in our sound, are: M83, Sonic Youth, At The Drive-In and Racebannon.

And are you influenced by anything non-musical?

Yeah absolutely. My writing lyrically, and in some parts musically, is influenced by a lot of books and sometimes films. In particular, and this goes for a lot of lyrics, the writings of Brett Easton Ellis. Although he’s probably most famous for American Psycho which is a really graphically violent book, the writing is in other books are much more developed (or sometimes purposefully undeveloped) and a huge influence on what I do.

Finally, what does the next year have in store for Rolo Tomassi?

We have a bunch of festivals this summer and then will be recording our second album before the end of this year. Past that, I can’t really say right now but we’re all totally pumped!

UPDATE

I haven’t updated this in such a long time. I’ve had loads of exams so they’ve been my main priority.
I have 90% of the articles for the zine which should be released sometime this month (possibly the 23rd) and I just need to wait for Matt to get back from holiday to get all the designs done.

Speaking of the 23rd. If you’re heading out to Tramlines festival, this can be your warm up show

MINNAARS – math rock like Foals from Leicester. Technical, twangy and chilled out

VENICE AHOY – punky math from Brighton. Recently featured on kerrang radio

WOODERSON – Sheffield’s finest post hardcore in the vain of fugazi. Dark, dirty and distorted

BIGGER THAN MEMPHIS – Sheffield teeny bop dance pop. Imagine Data Select Party but without facial hair

www.myspace.com/minnaars
www.myspace.com/veniceahoy
www.myspace.com/woodersonuk
www.myspace.com/btmtheband

23rd of July
@ The Redhouse, Solly Street
£4 OTD
Click here or here if you’re coming out to that.

Also, Big shout out to Mr John Parry!