audio addict #4 2010

Audio Addict 1

ISSUE 4: November: 2010

Everything Everything!

What Makes a Good Biopic!?

Work at Your Fave Festivals!

Latest Album Reviews!

+ MUCH MORE!

WWW.AUDIO-ADDICT.CO.UK

Audio Addict 3

Contents

Hello,Welcome to another issue of Audio Addict. It’s November, the summer is long dead and gone (get over it), but that’s not nearly enough to stop us from consuming, digesting, ingesting, understanding, caring, deconstructing and Heimlich maneuvering all the latest sounds, beats, pieces, echoes and distortions all for your curiosity (and maybe a little for ourselves). We’ve cooked up a veritable selection in our editorial meth lab including exclusive interviews with the self-proclaimed “quixotic” Everything Everything and eponymous electronic Radio 1 DJ Annie Mac. As if to rub it in we’ve included a sideways glance at some festivals I fear are fast fading into fond memories, however we’re not here to kick you whilst you’re down so we’ll take a look at the benefits of volunteering at Download. If you thought you’d heard the last of Phil Spector you would be wrong, Al Pacino is on hand to ensure his legacy isn’t quickly forgotten

leading us into the question what makes a successful biopic? As far as reviews go we’re covering the return of two distinctly different leading acts, the experimental ambience of Brian Eno and the jazz funk fusion of Jamiroquai. Alongside that we have Kings of Leon’s eagerly anticipated follow up to “only by the night” and another Weezer album comprising of unreleased material spanning their entire career. So tighten the belt around your arm, sterilize the syringe and prepare to take another hit all in the name of audio addiction.

p4. Whats on Your Ipod?!

p5. Band Profile: Arp Attack

p6-7 : What Makes a Good Biopic?

p8-9. Front Cover Story: Annie Mac

p10. Live Review: The Gaslight Anthem

p11. Everything Everything

p12-13 Album Reviews

p14-15 Behind the Scenes of the Festival of Your Dreams

So what are you waiting for? Lets get audio addicted!

The Team!Editor- Liam Martin

Front Editor- Emily 'Grem' Sutherland

Features editor- Danielle Brackenbury

Design Editor: Jessie RoseReviews Editor: Eliot Muharrem

The addicts for this issue were:

Tom QuickfallRachel Anderson

Tara PereraBen Radcliffe

Audio Addict 3

Contents

Hello,Welcome to another issue of Audio Addict. It’s November, the summer is long dead and gone (get over it), but that’s not nearly enough to stop us from consuming, digesting, ingesting, understanding, caring, deconstructing and Heimlich maneuvering all the latest sounds, beats, pieces, echoes and distortions all for your curiosity (and maybe a little for ourselves). We’ve cooked up a veritable selection in our editorial meth lab including exclusive interviews with the self-proclaimed “quixotic” Everything Everything and eponymous electronic Radio 1 DJ Annie Mac. As if to rub it in we’ve included a sideways glance at some festivals I fear are fast fading into fond memories, however we’re not here to kick you whilst you’re down so we’ll take a look at the benefits of volunteering at Download. If you thought you’d heard the last of Phil Spector you would be wrong, Al Pacino is on hand to ensure his legacy isn’t quickly forgotten

leading us into the question what makes a successful biopic? As far as reviews go we’re covering the return of two distinctly different leading acts, the experimental ambience of Brian Eno and the jazz funk fusion of Jamiroquai. Alongside that we have Kings of Leon’s eagerly anticipated follow up to “only by the night” and another Weezer album comprising of unreleased material spanning their entire career. So tighten the belt around your arm, sterilize the syringe and prepare to take another hit all in the name of audio addiction.

p4. Whats on Your Ipod?!

p5. Band Profile: Arp Attack

p6-7 : What Makes a Good Biopic?

p8-9. Front Cover Story: Annie Mac

p10. Live Review: The Gaslight Anthem

p11. Everything Everything

p12-13 Album Reviews

p14-15 Behind the Scenes of the Festival of Your Dreams

So what are you waiting for? Lets get audio addicted!

The Team!Editor- Liam Martin

Front Editor- Emily 'Grem' Sutherland

Features editor- Danielle Brackenbury

Design Editor: Jessie RoseReviews Editor: Eliot Muharrem

The addicts for this issue were:

Tom QuickfallRachel Anderson

Tara PereraBen Radcliffe

4 Audio Addict Audio Addict 5

What's on your ipod?

Band Addicts!Audio Addict wants to see pics of you

with your favourite bands!

Under attacKElectro-rockers Arp Attack prove that the practice of messing around with

synths is alive and well in the south east...

Arp Attack (l-r) Chris Smallwood, Kev Jones, Frankie Murdoch

Synth-pop’s roots may (arguably) be northern, but its revival is

nationwide. Its recent storm on the charts, largely down to the breakthrough success of electroclash descendants such as La Roux and Little Boots, doesn’t appear to be focused around one particular area of the country, and the South east certainly has its fair share of knob-twiddlers.Loosely Southampton-based Arp Attack are one fine example. A band of calculated contradictions (refreshing, organic vocals combined with dirty beats and gritty synths), the concept of performance and audience interaction has not been sacrificed for electronic aloofness, separating Arp Attack from their contemporaries. A few years of concentrated gigging and honing their sound has created a deserved buzz around the band, receiving plaudits from Phil Jackson at BBC South Live and radio airtime from 6 Music’s Tom Robinson amongst others, and resulting in a number of enviable support slots, playing with the likes of Delphic and Two Door Cinema Club. This year saw them perform on the

BBC Introducing stage at T in the Park. The pair first joined forces in 2006. At first, going by the name Jazica, the sound was less electro. “We started off all acoustic,” remembers guitarist Smallwood, “like an acoustic-y surf-type band.” This then developed as funding was acquired (by way of student loans), and the band delved in to the world of drum machines and sequencers. A change of sound led to a flurry of name changes (“Pelican Disco, that was a good one!” giggles Murdoch), before Arp Attack was settled on. The moniker describes well the attack of arpeggiated synths prevalent throughout the band’s material. The pair also cut a good image together on stage; Murdoch self-assured and energetic, her face adorned with glitter and painted shapes, while Smallwood, lean and long-haired, furiously coaxes each sequenced melody or delayed guitar riff. On first impressions, it would be hard not to make comparisons to the likes of Ellie Goulding – female-fronted synth-pop with

rock sensibilities etc. However, Murdoch’s unique vocal is closer in style to that of Icelandic demi-pixie Björk, and the band’s slightly dirty edge to their beats, supplemented by drummer Kev Jones, draw them further still from this association.Arp Attack carefully balance passion and commitment with a very intelligent and mature approach to the industry they are a part of. Skilfully produced EPs are sold at gigs only, resisting the temptation to officially release anything, physically or digitally, until sufficient financial backing is obtained. “I’ve had a lot of people say to me ‘don’t do digital distribution unless you’ve got the money and time to push it’” Murdoch explains. “Because if a record company sees it’s already on iTunes, it’s incredibly difficult to pull it off. They have to do battle against the original format.” With enthusiasm and industry-smarts this infectious, they should have no problems.

WORDS: TOM QUICKFALLPHOTO: XAN PHILLIPS

Audio Addict asked 5 different people to turn their ipod on shuffle and see what the first 5 songs that came up were. There was a very

interesting mixture of songs, including some

guilty pleasures!

Eliot, 19Getting Warm - Smokin Bert CooperGet Off - The Dandy WarholsA slow Guess - Noah and the WhalePortions for foxes - Rilo KileyLike o like h - Tegan and Sara Jessie, 20Ziggy Stardust - David BowieAsk the lonely - JourneyPlaying with fire - N DubzThe price we pay - A Day to RememberTik Tok - Kesha

Danielle, 19Signal Fire - Snow PatrolI’ve just seen a face - The BeatlesNow or Never - Madina LakeSax Man - The Lonely IslandLiving too fast - Black Cab

Tom, 23Why won’t you make up your mind - Tame ImpalaHoney - Matthe DearLady Daydream - Twin SisterRumblin - Neil YoungCalifornia - Mos Def

Sarah, 20White Horse - Taylor SwiftUnderdog - You Me at SixUFO - Sneaky Sound SystemStepping Stone - DuffyJust Dance - Lady GaGa

Keeley and Chris, Enter Shikari

Danielle and Gustav, Young Guns

Lisa and Dallas, Alexisonfire

What's on your ipod?

Band Addicts!Audio Addict wants to see pics of you

with your favourite bands!

Under attacKElectro-rockers Arp Attack prove that the practice of messing around with

synths is alive and well in the south east...

Arp Attack (l-r) Chris Smallwood, Kev Jones, Frankie Murdoch

Synth-pop’s roots may (arguably) be northern, but its revival is

nationwide. Its recent storm on the charts, largely down to the breakthrough success of electroclash descendants such as La Roux and Little Boots, doesn’t appear to be focused around one particular area of the country, and the South east certainly has its fair share of knob-twiddlers.Loosely Southampton-based Arp Attack are one fine example. A band of calculated contradictions (refreshing, organic vocals combined with dirty beats and gritty synths), the concept of performance and audience interaction has not been sacrificed for electronic aloofness, separating Arp Attack from their contemporaries. A few years of concentrated gigging and honing their sound has created a deserved buzz around the band, receiving plaudits from Phil Jackson at BBC South Live and radio airtime from 6 Music’s Tom Robinson amongst others, and resulting in a number of enviable support slots, playing with the likes of Delphic and Two Door Cinema Club. This year saw them perform on the

BBC Introducing stage at T in the Park. The pair first joined forces in 2006. At first, going by the name Jazica, the sound was less electro. “We started off all acoustic,” remembers guitarist Smallwood, “like an acoustic-y surf-type band.” This then developed as funding was acquired (by way of student loans), and the band delved in to the world of drum machines and sequencers. A change of sound led to a flurry of name changes (“Pelican Disco, that was a good one!” giggles Murdoch), before Arp Attack was settled on. The moniker describes well the attack of arpeggiated synths prevalent throughout the band’s material. The pair also cut a good image together on stage; Murdoch self-assured and energetic, her face adorned with glitter and painted shapes, while Smallwood, lean and long-haired, furiously coaxes each sequenced melody or delayed guitar riff. On first impressions, it would be hard not to make comparisons to the likes of Ellie Goulding – female-fronted synth-pop with

rock sensibilities etc. However, Murdoch’s unique vocal is closer in style to that of Icelandic demi-pixie Björk, and the band’s slightly dirty edge to their beats, supplemented by drummer Kev Jones, draw them further still from this association.Arp Attack carefully balance passion and commitment with a very intelligent and mature approach to the industry they are a part of. Skilfully produced EPs are sold at gigs only, resisting the temptation to officially release anything, physically or digitally, until sufficient financial backing is obtained. “I’ve had a lot of people say to me ‘don’t do digital distribution unless you’ve got the money and time to push it’” Murdoch explains. “Because if a record company sees it’s already on iTunes, it’s incredibly difficult to pull it off. They have to do battle against the original format.” With enthusiasm and industry-smarts this infectious, they should have no problems.

WORDS: TOM QUICKFALLPHOTO: XAN PHILLIPS

Audio Addict asked 5 different people to turn their ipod on shuffle and see what the first 5 songs that came up were. There was a very

interesting mixture of songs, including some

guilty pleasures!

Eliot, 19Getting Warm - Smokin Bert CooperGet Off - The Dandy WarholsA slow Guess - Noah and the WhalePortions for foxes - Rilo KileyLike o like h - Tegan and Sara Jessie, 20Ziggy Stardust - David BowieAsk the lonely - JourneyPlaying with fire - N DubzThe price we pay - A Day to RememberTik Tok - Kesha

Danielle, 19Signal Fire - Snow PatrolI’ve just seen a face - The BeatlesNow or Never - Madina LakeSax Man - The Lonely IslandLiving too fast - Black Cab

Tom, 23Why won’t you make up your mind - Tame ImpalaHoney - Matthe DearLady Daydream - Twin SisterRumblin - Neil YoungCalifornia - Mos Def

Sarah, 20White Horse - Taylor SwiftUnderdog - You Me at SixUFO - Sneaky Sound SystemStepping Stone - DuffyJust Dance - Lady GaGa

Keeley and Chris, Enter Shikari

Danielle and Gustav, Young Guns

Lisa and Dallas, Alexisonfire

Film MusicPhil Spector to get the pacino treatment in upcoming

film. but what makes a successful music biopic?I t was recently made public that Al Pacino is to

portray legendary producer and equally legendary madman Phil Spector in an upcoming biopic. The announcement, made by the New York Times in early October, has been met with a mixture of anticipation and cautiousness by fans and critics alike. Pacino fans have their own concerns, but admirers of the wig-toting “wall of sound” creator will join the long line of die hard musician devotees subjected to a Hollywood depiction of their idols.While the same New York Times article noted that Pacino does share Spector’s “imposing stare”, the Godfather star turned 70 this year, which leads to questions regarding his ability to play the producer in his younger heyday. But what makes a successful music biopic? Could it be the approach an actor takes in representing their respective subject? Joaquin Phoenix famously learned to play guitar after being selected for the role of Johnny Cash, and put in such a convincing performance that many Cash aficionados believed he was lip-syncing to the original material. Val Kilmer showed similar commitment in his depiction of Jim Morrison in Oliver Stone’s 1991 film The Doors. The Top Gun star reportedly spent a year dressed as the leather-clad signer and hanging out on the Sunset Strip. Queen fans will be hoping that funny man Sacha Baron Cohen will be similarly successful in his depiction of Freddie Mercury, when production starts on a biopic of the band later this year.

“if it works he’ll almost certainly earn a best actor

oscar nod”The Borat actor certainly shares some facial likenesses with the former singer. “Obviously he’s going to have the moustache”, explains Dr Ruth Dockwray, author of Queen: Anthems and Complex Songs, “and maybe he’ll have prosthetic teeth, because actually his teeth were a part of how [Mercury] sang.” Freelance journalist Carl Loben, also a researcher on the film, points out the practicalities of casting a recognized actor in the role. “He’s a huge box office draw. His involvement has made it much easier to secure funding and distribution.” Loben agrees that physical resemblance is an important factor in a music biopic. “The whole biopic genre depends

on convincing portrayals of real-life figures” he explains. “The viewer needs to be able to suspend belief enough, during the film, to believe that the person up there on the screen really is the musician concerned.” Having an actor endeavor to emulate an artist’s singing voice is another common obstacle of the music biopic. 2007’s La Vie En Rose saw its star Marion Cotillard receive an Oscar for her depiction of French chanteuse Édith Piaf, despite lip-syncing to other vocalists performing the original songs throughout.

“Summer Dreams reduces the beach boys to walking

caricatures”In an attempt to profit from his popularity at its peak, rap star Eminem played a character loosely based on himself in 2002’s 8 Mile, eliminating any need to find a performer of similar vocal style. At the other end of the scale, Jamie Foxx put his classical piano training and experience as professional vocalist to good use in becoming the late, great Ray Charles. As well as the plaudits, these films have also received criticism for the glorification of their subjects, something that constantly irks music fans. “There is a need to balance the inevitable histrionics with quieter moments that emphasise the icon’s basic humanity” explains Sam Ashurst, features editor at Total Film magazine. He goes on to explain that this is key to the success of a music biopic. “It’s why Walk The Line works, but Summer Dreams definitely doesn’t - it reduces The Beach Boys to walking caricatures.” But perhaps that’s the point? The subjects of The Doors and the upcoming Queen film are larger-than-life characters, suited to Hollywood’s exaggerations. “With Baron Cohen it’s doubly risky as it’ll be his first serious role,” points out Ashurst, “It’s a massive risk, but if it works he’ll almost certainly earn a Best Actor Oscar nod.” Perhaps American TV sitcom 30 Rock has the right approach. A recent episode spoofed the making of a Janis Joplin biopic that hits a number of copyright issues, goes through a series of ludicrous plot changes, and is eventually renamed Jackie Jormp-Jomp. If that’s how it works in reality, we can expect to see Pacino starring as Bill Fletcher anytime now…

Words By Tom Quickfall

Film MusicPhil Spector to get the pacino treatment in upcoming

film. but what makes a successful music biopic?I t was recently made public that Al Pacino is to

portray legendary producer and equally legendary madman Phil Spector in an upcoming biopic. The announcement, made by the New York Times in early October, has been met with a mixture of anticipation and cautiousness by fans and critics alike. Pacino fans have their own concerns, but admirers of the wig-toting “wall of sound” creator will join the long line of die hard musician devotees subjected to a Hollywood depiction of their idols.While the same New York Times article noted that Pacino does share Spector’s “imposing stare”, the Godfather star turned 70 this year, which leads to questions regarding his ability to play the producer in his younger heyday. But what makes a successful music biopic? Could it be the approach an actor takes in representing their respective subject? Joaquin Phoenix famously learned to play guitar after being selected for the role of Johnny Cash, and put in such a convincing performance that many Cash aficionados believed he was lip-syncing to the original material. Val Kilmer showed similar commitment in his depiction of Jim Morrison in Oliver Stone’s 1991 film The Doors. The Top Gun star reportedly spent a year dressed as the leather-clad signer and hanging out on the Sunset Strip. Queen fans will be hoping that funny man Sacha Baron Cohen will be similarly successful in his depiction of Freddie Mercury, when production starts on a biopic of the band later this year.

“if it works he’ll almost certainly earn a best actor

oscar nod”The Borat actor certainly shares some facial likenesses with the former singer. “Obviously he’s going to have the moustache”, explains Dr Ruth Dockwray, author of Queen: Anthems and Complex Songs, “and maybe he’ll have prosthetic teeth, because actually his teeth were a part of how [Mercury] sang.” Freelance journalist Carl Loben, also a researcher on the film, points out the practicalities of casting a recognized actor in the role. “He’s a huge box office draw. His involvement has made it much easier to secure funding and distribution.” Loben agrees that physical resemblance is an important factor in a music biopic. “The whole biopic genre depends

on convincing portrayals of real-life figures” he explains. “The viewer needs to be able to suspend belief enough, during the film, to believe that the person up there on the screen really is the musician concerned.” Having an actor endeavor to emulate an artist’s singing voice is another common obstacle of the music biopic. 2007’s La Vie En Rose saw its star Marion Cotillard receive an Oscar for her depiction of French chanteuse Édith Piaf, despite lip-syncing to other vocalists performing the original songs throughout.

“Summer Dreams reduces the beach boys to walking

caricatures”In an attempt to profit from his popularity at its peak, rap star Eminem played a character loosely based on himself in 2002’s 8 Mile, eliminating any need to find a performer of similar vocal style. At the other end of the scale, Jamie Foxx put his classical piano training and experience as professional vocalist to good use in becoming the late, great Ray Charles. As well as the plaudits, these films have also received criticism for the glorification of their subjects, something that constantly irks music fans. “There is a need to balance the inevitable histrionics with quieter moments that emphasise the icon’s basic humanity” explains Sam Ashurst, features editor at Total Film magazine. He goes on to explain that this is key to the success of a music biopic. “It’s why Walk The Line works, but Summer Dreams definitely doesn’t - it reduces The Beach Boys to walking caricatures.” But perhaps that’s the point? The subjects of The Doors and the upcoming Queen film are larger-than-life characters, suited to Hollywood’s exaggerations. “With Baron Cohen it’s doubly risky as it’ll be his first serious role,” points out Ashurst, “It’s a massive risk, but if it works he’ll almost certainly earn a Best Actor Oscar nod.” Perhaps American TV sitcom 30 Rock has the right approach. A recent episode spoofed the making of a Janis Joplin biopic that hits a number of copyright issues, goes through a series of ludicrous plot changes, and is eventually renamed Jackie Jormp-Jomp. If that’s how it works in reality, we can expect to see Pacino starring as Bill Fletcher anytime now…

Words By Tom Quickfall

The Queen of Dance Music

Words by Rachael Anderson

'I love Digital, it's one of my favourite places to play'

Renowned to most as a Radio 1 favourite, but to

the rest Annie Mac is a strong icon, sweeping

through the dance scene like a crazed

beat-freak. Whether you like your dub-step, drum and base or just a beat to dance to, it’s certain that Ms. Mac

will be ready to provide you with the goodies.

Annie Mac is one of the biggest names in the world of dance

music today. She is most famous for her Friday night show on Radio 1 known as ‘the official start to the weekend’ as well as her self-titled club night ‘Annie Mac Presents’ which she has taken throughout the UK and further afield.Born in Dublin, Annie studied at Queen’s University in Belfast where she went onto working for the Student Union’s club ‘Shine’ in promotions and marketing. Deciding to move to London, she worked for a few small radio stations ahead of landing a job at BBC Radio 1, working as a broadcast assistant and producer for the likes of Colin Murray and Zane Lowe before being offered her own show in July 2004. Starting off on Thursday evenings ‘Annie Mac’s Mash Up’ brought together daytime and evening creating a show for dance music fans before taking over Pete Tong’s iconic Friday night slot in autumn 2009 known as ‘the official start to the weekend’. Annie also co hosts ‘Switch’ with Nick Grimshaw on Sunday evenings a music and chat show based at teenagers which was in television form as ‘Sound’ on BBC 2 for a while. Branching out from her Friday night Radio 1 show, Annie curated ‘Annie Mac Presents’ a club night that has built up to be a successful clubbing brand. She regularly hosts nights in UK cities as well as other countries

inviting along famous names in the world of dance as well as up and coming DJ’s to play alongside her. I caught up with Annie after her show in Brighton where Dj’s Seiji and Jakwob played alongside her for the ‘Annie Mac Presents’ night. She is no stranger to Digital, playing there a number of times in the past.” I love Digital, it’s one of my favourite places to play cos it’s one of those clubs that’s got no frills, it’s just like a big black box with an amazing sound system and an amazing lighting system”. Annie’s ‘Presents’ nights have seen her play all types of different venues from the London Koko to “vibey and intimate” places like Fabric Room 3 and The Arches in Glasgow, which are among her favourites to play. “I like the little places to be honest with you and even though there still quite big it feels little so that’s why I like it”.Annie has broken the boundaries with her Radio 1 slot and live shows, playing a diverse mix of new musical genres and cutting – edge dance music, her influences being 3 people in particular and they’re not necessarily women. “ Erol Alkan’s a big inspiration as a DJ as is Fake Blood, as is a guy called Stuart Price who is a producer, he produced the new Scissor Sisters album”.This year she is taking her ‘Presents’ brand to the UK festival scene in a very different way “I’m gonna be at Bestival, Rockness, Creamfields and a new festival

called LED in London. I’ve got like Annie Mac Presents arenas, I’ve kind of curated the whole line ups from massive tents, so that’s really exciting”. Annie will also feature in Glastonbury’s 40th Anniversary line up this summer “ I can’t tell you how yet but I’m definitely there for a big secret gig, which you will hear about if you keep listening to my show on Radio 1.” Annie promotes the BBC’s In New Music We Trust’s shows and campaigns by playing the very best in new music from the latest bands and DJ’s. Delorean, a Spanish four piece from Barcelona are her latest recommendation, they combine dance and indie pop, creating a distinctive sound.“ Delorean are like a cross between Crystal Castle and Stone Roses, like a weird amalgamation of those two, kind of really electronic but baggy like euphoric indie dance music, it’s beautiful really beautiful.”Bringing her new concept to the festival scene this summer with her ‘Presents’ tents, Annie Mac continues to keep music fresh and exciting for the world of dance music and further. With rising listener figures and her clubbing brand continuing to grow, this is just the beginning for Annie Mac.

The Queen of Dance Music

Words by Rachael Anderson

'I love Digital, it's one of my favourite places to play'

Renowned to most as a Radio 1 favourite, but to

the rest Annie Mac is a strong icon, sweeping

through the dance scene like a crazed

beat-freak. Whether you like your dub-step, drum and base or just a beat to dance to, it’s certain that Ms. Mac

will be ready to provide you with the goodies.

Annie Mac is one of the biggest names in the world of dance

music today. She is most famous for her Friday night show on Radio 1 known as ‘the official start to the weekend’ as well as her self-titled club night ‘Annie Mac Presents’ which she has taken throughout the UK and further afield.Born in Dublin, Annie studied at Queen’s University in Belfast where she went onto working for the Student Union’s club ‘Shine’ in promotions and marketing. Deciding to move to London, she worked for a few small radio stations ahead of landing a job at BBC Radio 1, working as a broadcast assistant and producer for the likes of Colin Murray and Zane Lowe before being offered her own show in July 2004. Starting off on Thursday evenings ‘Annie Mac’s Mash Up’ brought together daytime and evening creating a show for dance music fans before taking over Pete Tong’s iconic Friday night slot in autumn 2009 known as ‘the official start to the weekend’. Annie also co hosts ‘Switch’ with Nick Grimshaw on Sunday evenings a music and chat show based at teenagers which was in television form as ‘Sound’ on BBC 2 for a while. Branching out from her Friday night Radio 1 show, Annie curated ‘Annie Mac Presents’ a club night that has built up to be a successful clubbing brand. She regularly hosts nights in UK cities as well as other countries

inviting along famous names in the world of dance as well as up and coming DJ’s to play alongside her. I caught up with Annie after her show in Brighton where Dj’s Seiji and Jakwob played alongside her for the ‘Annie Mac Presents’ night. She is no stranger to Digital, playing there a number of times in the past.” I love Digital, it’s one of my favourite places to play cos it’s one of those clubs that’s got no frills, it’s just like a big black box with an amazing sound system and an amazing lighting system”. Annie’s ‘Presents’ nights have seen her play all types of different venues from the London Koko to “vibey and intimate” places like Fabric Room 3 and The Arches in Glasgow, which are among her favourites to play. “I like the little places to be honest with you and even though there still quite big it feels little so that’s why I like it”.Annie has broken the boundaries with her Radio 1 slot and live shows, playing a diverse mix of new musical genres and cutting – edge dance music, her influences being 3 people in particular and they’re not necessarily women. “ Erol Alkan’s a big inspiration as a DJ as is Fake Blood, as is a guy called Stuart Price who is a producer, he produced the new Scissor Sisters album”.This year she is taking her ‘Presents’ brand to the UK festival scene in a very different way “I’m gonna be at Bestival, Rockness, Creamfields and a new festival

called LED in London. I’ve got like Annie Mac Presents arenas, I’ve kind of curated the whole line ups from massive tents, so that’s really exciting”. Annie will also feature in Glastonbury’s 40th Anniversary line up this summer “ I can’t tell you how yet but I’m definitely there for a big secret gig, which you will hear about if you keep listening to my show on Radio 1.” Annie promotes the BBC’s In New Music We Trust’s shows and campaigns by playing the very best in new music from the latest bands and DJ’s. Delorean, a Spanish four piece from Barcelona are her latest recommendation, they combine dance and indie pop, creating a distinctive sound.“ Delorean are like a cross between Crystal Castle and Stone Roses, like a weird amalgamation of those two, kind of really electronic but baggy like euphoric indie dance music, it’s beautiful really beautiful.”Bringing her new concept to the festival scene this summer with her ‘Presents’ tents, Annie Mac continues to keep music fresh and exciting for the world of dance music and further. With rising listener figures and her clubbing brand continuing to grow, this is just the beginning for Annie Mac.

Words by: Elliot Muharrem

I t’s half past seven, and with the doors already having been

open for half an hour, it’s clear to see how diverse an audience we have on our hands here (think parents, their kids and their buddies.) Sharks are first up, ready and raring to go, desperate to leave an impression on this crowd. These boys are wasting no time in showing exactly what it is that they’ve got as they burst into a perfect rendition of ‘Train’, but it’s the vocals from frontman James Mattock that really draws you in. Think The Clash with an added melodic edge- brill! The crowd are slowly filing in as Chuck Ragan begins his spotlight performance. Hard hitting folk accompanied by violin, harmonica and ‘kick-ass’ vocals. ‘For Broken Ears’ and ‘The Boat’ are ear pleasing enough to shut the Guildhall into silence, as you are able to explore every emotion chosen to create such a powerful atmosphere. The evening is extremely satisfying so far, and it is crystal clear that the audience

are now preparing themselves for The Gaslight Anthem. It isn’t a long wait until the boys hit the fully lit stage with a unfaultable performance of ‘Great Expectations’. Alex Rosamilia is on top form with the Gaslight’s trademark clean guitar picking throughout ‘We Came To Dance’ and ‘Stay Lucky’. So far everyone is a bit quiet for my liking, and it isn’t until ‘Boxer’ that the feet begin to tap. Front man Brian Fallon is hardly phased by this at all, as he is continues to give it his all throughout the catchy anthems, ‘Casanova, Baby!’ and ‘Film Noir. Proud in plaid, the audience are finally showing some appreciation. ‘We Did It When We Were Young’ is the ultimate come down from such an intense high, the atmosphere becomes almost surreal as the silence returns. Fallon is taking time between tracks to tell stories and interact with the audience- you couldn’t imagine a more interesting frontman to watch. With his mannerisms floating all over the shop during

‘59 Sound’, it is truly clear that this is a gig to remember. Anxiously the crowd chant for their ‘well earned’ encore, and what an encore they are treated to. ‘She Loves You’ is an epic sing-a-long track and it’s obvious that Fallon is giving everything he has to make sure it is etched into your ears. There is a 5 track encore, but every Gaslight fan knows that there is no better way to end a gig than with a flawless performance of ‘Backseat’, And that is exactly what we are given. Classic, driven and full of heart. Just like rock and roll should be.

Words By Jessie Rose Side

Live Review

The Gaslight Anthem with Chuck Ragan & Sharks Southampton Guildhall

anything, EVerything Everything, and nothing else

H ype. It’s the accolade you can’t

win, but one which propels many to fame. Even the Jedwards of this world can achieve it, without any real musical talent. It can also be a curse, a damning dive in to the bargain bin. But for Everything Everything, it was the canon they needed to get a head above the ever-stagnant British indie scene. When the floodgates of ‘The somethings’-type British indie bands still continue to surge, Everything Everything were seen as the crossover point at the end of the noughties, with even the name signalling a steer away from the cliché. ‘we were playing with the word everything because we liked the way it sounds and how it looks and obviously it’s got quite a big meaning’. The hunger or a change from the 3-chord-wonder bands was met, even if it was just the expulsion of a 3-letter grammatical article. However, the band do find it hard to put their finger on how to define their sound, but guitarist Jeremy uses a maternal anecdote to further mystify us; ‘my mum said this word the other day and I thought, that’s a bit like us… quixotic… which basically means unable to make decisions… restless. I thought

that was quite apt, but apart from that, I really don’t know’. An early quote from the band’s Myspace read ‘avoid cliché at all costs’.It was the 7th December 2009 when the BBC Sound of 2010 poll longlist was revealed, with names including The Drums, Two Door Cinema Club and Stornoway. For Everything Everything, this was the first taste of being a sudden focusing point and centre of attention in a music scene. The BBC Sound of 2010 list usually creates a self-fulfilling prophecy (unlike the Mercury Music Prize, Speech Debelle, anyone?); with the bands featured tending to come out of it achieving great success (Lady Gaga, Florence and the Machine, Ellie

Goulding). And this is where the hype started to build. Despite having 2 releases under their belt at that point (‘Suffragette Suffragette on Salvia Records and ‘Photoshop Handsome’ on AMEAK Records), they still failed to get recognised before the BBC poll regardless of their relentless gigging and recording. 10 months later and they have a sold-out UK headline tour, including a packed out show at Southampton’s Talking Heads coupled with an album which has sold over 20,000 copies and received very positive reviews by many music publications. Their album, entitled ‘Man Alive’, also reached number 17 in the charts. Not bad for a debut.Amongst some of the band’s highlights

was their appearance at this year’s Reading and Leeds festivals; ‘we had a massive crowd as well, which we really wasn’t expecting because the album wasn’t out yet at that stage, it was a few days off still and there was probably about 6,000 people there’. For that many people to be there, before a debut album has even been released, the hype around them clearly created a buzz. Speaking of the band’s future, it is clear they want to leave a lasting mark in music, and are planning a second album; ‘we’re definitely gonna be on the road a a lot and we’re gonna be working on new material as much as we can’.

Kings of LeonCome Around Sundown

WarpaintThe Fool

Pre-release hype can be a terrible burden on a debut album, its weight all too often enough to cripple its promising creators. Those that can successfully ride the accolade wave should be revered, celebrated, and then allowed to produce the telling follow-up out of the glaring headlights of the music press. Hopefully this will be the fate of LA’s Warpaint, who, two years after the release of the Exquisite Corpse EP, finally delivered their debut long player this October amid a frenzy of blog praise and broadsheet admiration. Opener Set Your Arms Down is a slow burner; hypnotic bass chords and stop/start drums punctuate Emily Kokal’s swaying vocal, a hint of mid-‘90s desert rock, atmospheric and ominous. The stoner grooves continue into the album’s title track, before the heavily previewed Undertow announces the girls’ position as masters of languid dream-pop, a beautiful melody tied to carefully interposed guitar chords, with an exhausted sigh “why you wanna blame me for your troubles?” Ever on the lookout for interesting ways of supplementing the band’s ethereal harmonies and the melodic guitar work of its twin six-stringers Kokal and Theresa Wayman, contrasting sections and ever-changing arrangements are combined with subtle effects, such as the modulated,

wobbling acoustic in Shadows. A subtle reference to Talking Heads’ Warning Sign can be found in the drummed intro to Bees, while the slow-paced opening section of standout track Composure sees delayed chords underpin a shouted-from-a-distance refrain from the whole band. The band’s talent lies in their ability to conjure a unique ambience from seemingly simple building blocks. Kokal successfully manages to turn quite an asinine lyric in to a touching, weary plea in Baby, while even the all-conquering Undertow could easily fall flat in the wrong hands. Warpaint deliver on the growing reputation that precedes them. Definitely believe the hype; just don’t be blinded by it.

Liam Martin

JamiroquaiRock, Dust, Light, Star

It has been five years since pop-funk band Jamiroquai released their last album, ‘Dynamite,’ but now the London based group return with their seventh studio album, ‘Rock, Dust, Light, Star.’ The album opens with ‘Rock, Dust, Light, Star,’ a cosmic infusion of classic funk and dance around, sing-along pop, a simple yet effective start. It’s followed by perhaps the stand out song of the album, ‘White Knuckle Ride.’ A slick dance tune with soulful rhythms and smooth vocals, reminiscent of nineties hit ‘Cosmic Girl,’ in that this too appears more then capable to stand the test of time. Low points on the album include ‘She’s a pretender,’ a fast paced electronica number, with an unsystematic inclusion of what appears to be cowbells. ‘Lifeline’ is disappointing

as is ‘Two Completely Different Things.’ The sweetly sung and intimate ‘Blueskies,’ however, is a surprising hit on the album combining acoustic measure with a jazzy undertone and intricate melody, establishing a daydream like feel within a harmonious ballad. Ultimately an appropriately named record, this offering is all about getting back to basics for Jamiroquai, a funky and soulful yet disappointingly mediocre repertoire.

Liam Martin

Brian EnoSmall Craft on a Milk Sea.The father of breezy ambience is back with new album Small Craft on a Milk Sea, his first on highly influential British imprint Warp. Fitting for the label, as the home of some of the most forward-thinking electronic music of the last twenty years owes a huge debt to Eno’s legacy.The producer kicks off his Warp career with the floating piano of album opener Emerald and Lime, immediately switching off the brain and drifting harmlessly along in the manner of previous work such as the eponymous Apollo: Atmospheres and Soundtracks from 1983. This spacious ambience continues through the album’s title track, before proceedings take a more sinister tone. The frantic electronics of Flint March and Horse pave the way for 2 Forms of Anger, a much more insightful look in to Eno’s psyche. Pounding electronic rhythms and menacing effects explode midway

into a vitriolic pseudo-punk finale. Roxy Music this is not. However, it’s here that the album peaks. Bone Jump sounds like a bizarre GCSE computer game music project, all cheap MIDI and over complex, nonsensical melodies. By Palaesonic, the rattle of digital drums begins to grate but before you know it the album creeps away as quietly as it arrived on closer Invisible. This is a collection to please Eno fans; not straying too far from his groundbreaking ‘80s sound and concept, but not turning many heads either.

Tom Quickfall

In the beginning, a preacher man by the name of Ivan ‘Leon’ Followill had three sons by the name of Nathan, Caleb and Jared. Twenty –four years after their own conception, and joined by cousin, Matthew; The Kings of Leon were born. After releasing the eponymous Youth & Young Manhood in 2003, they had won a place in the hearts of many, setting them up for the whirlwind career they were about to embark on. Two years later, the Kings then brought out Aha-shake Heartbreak, showing that they can write more than just two and a half minute rock and roll songs. Then, only a mere one year later, third album Because of the Times was released. Similarly to their second release, this album showed a progression of the bands abilities, in both song-writing and performing. Then, out of nowhere, the seminal Only by the Night hit CD shelves across the UK; the most mature sounding record to date. Now, seven years on, the Nashville Kings of Leon have finally peaked. On the October 18th 2010, the heavily anticipated fifth studio album was at last released; the thankfully redeeming, Come around Sundown. Fusing elements from all four of its predecessors, it keeps a vice like grip on their roots of Country and Rock n’ Roll, as well as using the more experimental techniques found on the previous two releases. This album continues with their original lyrics, telling tales of drink, drugs, sex and nostalgia on songs like ‘The End’. They have also added the odd love

ballad like, ‘Mi Amigo’, and of course the stratospheric anthems like ‘Pickup Truck’. One thing we can say is we won’t have to put up with hordes of pissed up idiots, drunkenly chanting ‘Sex on Fire’. Taking its place, thank God, is single worthy ‘Back Down South’. Opening with a wet sounding slide guitar, followed by the lyrics, ‘Come on out and dance, if you get the chance. We’re gonna spit on the rivals’. This maybe aimed at the ‘fans’ that only see KOL as, ‘that band that did that sex on fire song’. The ‘fans’ seen at 2009’s Reading Festival who after booing the band nonstop until they played that cursed song then left after it was played. It’s not really surprising that singer Caleb gave the finger to the crowd as he left the stage.Luckily now, the Kings have returned to their original sounds like the first album, and as with all the other KOL albums, Come around Sundown will keep you warm through those winter months, and set the scene for the summer to come. But will this be the final sundown for the Kings of Leon?

Ben Radcliffe

Album Reviews

Kings of LeonCome Around Sundown

WarpaintThe Fool

Pre-release hype can be a terrible burden on a debut album, its weight all too often enough to cripple its promising creators. Those that can successfully ride the accolade wave should be revered, celebrated, and then allowed to produce the telling follow-up out of the glaring headlights of the music press. Hopefully this will be the fate of LA’s Warpaint, who, two years after the release of the Exquisite Corpse EP, finally delivered their debut long player this October amid a frenzy of blog praise and broadsheet admiration. Opener Set Your Arms Down is a slow burner; hypnotic bass chords and stop/start drums punctuate Emily Kokal’s swaying vocal, a hint of mid-‘90s desert rock, atmospheric and ominous. The stoner grooves continue into the album’s title track, before the heavily previewed Undertow announces the girls’ position as masters of languid dream-pop, a beautiful melody tied to carefully interposed guitar chords, with an exhausted sigh “why you wanna blame me for your troubles?” Ever on the lookout for interesting ways of supplementing the band’s ethereal harmonies and the melodic guitar work of its twin six-stringers Kokal and Theresa Wayman, contrasting sections and ever-changing arrangements are combined with subtle effects, such as the modulated,

wobbling acoustic in Shadows. A subtle reference to Talking Heads’ Warning Sign can be found in the drummed intro to Bees, while the slow-paced opening section of standout track Composure sees delayed chords underpin a shouted-from-a-distance refrain from the whole band. The band’s talent lies in their ability to conjure a unique ambience from seemingly simple building blocks. Kokal successfully manages to turn quite an asinine lyric in to a touching, weary plea in Baby, while even the all-conquering Undertow could easily fall flat in the wrong hands. Warpaint deliver on the growing reputation that precedes them. Definitely believe the hype; just don’t be blinded by it.

Liam Martin

JamiroquaiRock, Dust, Light, Star

It has been five years since pop-funk band Jamiroquai released their last album, ‘Dynamite,’ but now the London based group return with their seventh studio album, ‘Rock, Dust, Light, Star.’ The album opens with ‘Rock, Dust, Light, Star,’ a cosmic infusion of classic funk and dance around, sing-along pop, a simple yet effective start. It’s followed by perhaps the stand out song of the album, ‘White Knuckle Ride.’ A slick dance tune with soulful rhythms and smooth vocals, reminiscent of nineties hit ‘Cosmic Girl,’ in that this too appears more then capable to stand the test of time. Low points on the album include ‘She’s a pretender,’ a fast paced electronica number, with an unsystematic inclusion of what appears to be cowbells. ‘Lifeline’ is disappointing

as is ‘Two Completely Different Things.’ The sweetly sung and intimate ‘Blueskies,’ however, is a surprising hit on the album combining acoustic measure with a jazzy undertone and intricate melody, establishing a daydream like feel within a harmonious ballad. Ultimately an appropriately named record, this offering is all about getting back to basics for Jamiroquai, a funky and soulful yet disappointingly mediocre repertoire.

Liam Martin

Brian EnoSmall Craft on a Milk Sea.The father of breezy ambience is back with new album Small Craft on a Milk Sea, his first on highly influential British imprint Warp. Fitting for the label, as the home of some of the most forward-thinking electronic music of the last twenty years owes a huge debt to Eno’s legacy.The producer kicks off his Warp career with the floating piano of album opener Emerald and Lime, immediately switching off the brain and drifting harmlessly along in the manner of previous work such as the eponymous Apollo: Atmospheres and Soundtracks from 1983. This spacious ambience continues through the album’s title track, before proceedings take a more sinister tone. The frantic electronics of Flint March and Horse pave the way for 2 Forms of Anger, a much more insightful look in to Eno’s psyche. Pounding electronic rhythms and menacing effects explode midway

into a vitriolic pseudo-punk finale. Roxy Music this is not. However, it’s here that the album peaks. Bone Jump sounds like a bizarre GCSE computer game music project, all cheap MIDI and over complex, nonsensical melodies. By Palaesonic, the rattle of digital drums begins to grate but before you know it the album creeps away as quietly as it arrived on closer Invisible. This is a collection to please Eno fans; not straying too far from his groundbreaking ‘80s sound and concept, but not turning many heads either.

Tom Quickfall

In the beginning, a preacher man by the name of Ivan ‘Leon’ Followill had three sons by the name of Nathan, Caleb and Jared. Twenty –four years after their own conception, and joined by cousin, Matthew; The Kings of Leon were born. After releasing the eponymous Youth & Young Manhood in 2003, they had won a place in the hearts of many, setting them up for the whirlwind career they were about to embark on. Two years later, the Kings then brought out Aha-shake Heartbreak, showing that they can write more than just two and a half minute rock and roll songs. Then, only a mere one year later, third album Because of the Times was released. Similarly to their second release, this album showed a progression of the bands abilities, in both song-writing and performing. Then, out of nowhere, the seminal Only by the Night hit CD shelves across the UK; the most mature sounding record to date. Now, seven years on, the Nashville Kings of Leon have finally peaked. On the October 18th 2010, the heavily anticipated fifth studio album was at last released; the thankfully redeeming, Come around Sundown. Fusing elements from all four of its predecessors, it keeps a vice like grip on their roots of Country and Rock n’ Roll, as well as using the more experimental techniques found on the previous two releases. This album continues with their original lyrics, telling tales of drink, drugs, sex and nostalgia on songs like ‘The End’. They have also added the odd love

ballad like, ‘Mi Amigo’, and of course the stratospheric anthems like ‘Pickup Truck’. One thing we can say is we won’t have to put up with hordes of pissed up idiots, drunkenly chanting ‘Sex on Fire’. Taking its place, thank God, is single worthy ‘Back Down South’. Opening with a wet sounding slide guitar, followed by the lyrics, ‘Come on out and dance, if you get the chance. We’re gonna spit on the rivals’. This maybe aimed at the ‘fans’ that only see KOL as, ‘that band that did that sex on fire song’. The ‘fans’ seen at 2009’s Reading Festival who after booing the band nonstop until they played that cursed song then left after it was played. It’s not really surprising that singer Caleb gave the finger to the crowd as he left the stage.Luckily now, the Kings have returned to their original sounds like the first album, and as with all the other KOL albums, Come around Sundown will keep you warm through those winter months, and set the scene for the summer to come. But will this be the final sundown for the Kings of Leon?

Ben Radcliffe

Album Reviews

W hether you can afford it or not, festivals are usually a

homing ground for young music lovers all over the world. There’s a variety of different festivals for different genres, that get outstanding amounts of attention and revenue, regardless of how expensive they are. But what if you are part of the small percentage that really can’t justify spending x amount on a weekend away camping, in the 9 times out of 10, water logged fields of Derby, Leeds, Reading or Knebworth? Sit at home and trawl Facebook for your mates’ updates on “what an awesome time!” they’re having, or glue yourself to your television set and watch all your favourite

bands play your favourite songs, and feel your heart sink low into your stomach, because you know it would have been worth it? Not anymore!There are a number of organisations that work at majority of the main festivals now, whether it’s litter picking, or working behind the bar, but in every case, you get to go to the festival of your choice, for

free! But what if you don’t want to pick up the used condom wrappers and baggies off the floor of people’s campsites? What if you don’t want to serve the inebriated bastards who actually paid, and who you’re horribly

jealous of? That’s right, there is ANOTHER solution, and it’s not jumping the fence.Organisations such as Festaff and Oxfam have made dealings with festivals such as Download, Sonisphere and Bestival, where they bring a large amount of staff with them to patrol the festival, or keep an eye out on the campsites, or even sit behind a desk and put wristbands on the punters. In some cases, you even get paid, but in most cases, you really are just working off your ticket to be there, but still get majority of the festival off to enjoy yourself. Sounds like a sweet deal, right? Tara Perera from Audio Addict investigates exactly what the deal is with Festaff at Donnington’s Download Festival.You turn up to Download, in the pissing down rain, expecting to see bright lights, rock stars, and a backstage pass sitting there waiting for you. Don’t be too upset when you don’t find this though, that’s not part of the deal. You’re welcomed by a spotty teenager, and showed which way to trek, and trek you will! Your campsite is as far away as humanly possible, and waterlogged. That’s fine, you probably won’t be spending too much time there anyways, after all, you’re here to work, as your unbelievably Scottish manager tells you, although as a Southerner, you think that’s what he said. He lays down the law, warns you off on drugs, tells you a story about how he’s already kicked a couple out for going racing round the Donnigton track and basically just gets through all the formalities. Now, by this time, you should know EXACTLY what bands you want to see, when they will be on, and how much begging you want to go through to see them, after all, you did travel all this way for

BEHIND THE SCENES AT THE FESTIVAL OF YOUR DREAMS

"the fact you could have got a

better nights sleep in the river thames

escapes

free, it’s clearly your God given right to see them? No. If you’re pencilled in for a shift, which are picked at random, you are doing that shift, unless you can find some simple minded person to cover you. He lays down the law, warns you off on drugs, tells you a story about how he’s already kicked a couple out for going racing round the Donnigton track and basically just gets through all the formalities. Now, by this time, you should know EXACTLY what bands you want to see, when they will be on, and how much begging you want to go through to see them, after all, you did travel all this way for free, it’s clearly your God given right to see them? No. If you’re pencilled in for a shift, which are picked at random, you are doing that shift, unless you can find some simple minded person to cover you. For arguments sake, lets say you got the cover. Score. Now you’re being told to go back to your soggy tent, sit around with a bunch of strangers, in the rain, make small talk then try to get some sleep. After all, you need to be in ‘The Village’, which looks more like a gypsy site at the moment, at 9am. Brilliant. Thankfully, majority of the people who do work for Festaff are really great people! There are some true characters that go for this kind of work during the summer, so the fact you could have got a better nights sleep in the river Thames slowly escapes your mind.Finally, you’re on your feet, trudging through the muddy waters of metal world, being given the grand tour of Download. Grand tour?! In all honestly, before a festival opens it’s doors, it looks like that really rubbish carnival that comes to your town every bank holiday, with the dodgy pikeys that you reckon would knick your wallet if you gave them the chance. Still, must keep your spirits high. You’re at the festival, chin up, a little bit of rain never killed anybody. And luckily, all your

shifts commence in heated little porta-cabins, with unlimited amounts of tea and Download FM. The deal is definitely getting sweeter and sweeter. You’re expected to do a grand total of 3 shifts over the 3 days, each one lasting 8 hours. It sounds like a long time, but if you’ve got the right company, and you love tea as much as the next person, you’re perfectly happy! Not to mention the abundance of humour you will undoubtedly witness from excruciatingly drunk punters.Now your shifts done, and it’s roughly 4pm, you’re astounded by how much the place looks like a refugee camp, but forget about that. It’s band time! You trek on over to the arena, but what’s this? A queue? You didn’t sign up for any queue’s?! Well you don’t have to! With your special ‘Front of House’ wristband, you can get to the arena through the fencing or any gaps you might find, and basically cut all kinds of lines, because you’re a workie! Fantastic. You’re also allowed in the arena up to 2 hours before anyone else, so if you’re a die hard fan of a certain band, and want to be at the barrier for their performance, it’s 100% possible to do, without waking up ridiculously early and queuing for about an hour.

So your last day is here, you’ve seen all the bands you wanted to see, you’ve witnessed lots of drama, your food has been paid for and it’s all been for free. Sure you’ve slept in unbearable condi-tions, and you’re pretty knackered from going straight from party-ing to working, but lets face it, it was 100% worth it. No one fell on your tent because they were drunk, no one’s stolen your stuff, and no one would, you’re camp-ing in a secure place, with secu-rity guards left right and center. You even found a sneaky little bathroom that had hot water in, what more could you want?!You definitely don’t need money to go to a festival and have a good time, so if you’re strapped for cash next summer, sign up on http://www.festaff.co.uk/ for the greatest free weekend you’ll probably ever have.

Words: Tara PereraPhotos: Cara Wiseman

W hether you can afford it or not, festivals are usually a

homing ground for young music lovers all over the world. There’s a variety of different festivals for different genres, that get outstanding amounts of attention and revenue, regardless of how expensive they are. But what if you are part of the small percentage that really can’t justify spending x amount on a weekend away camping, in the 9 times out of 10, water logged fields of Derby, Leeds, Reading or Knebworth? Sit at home and trawl Facebook for your mates’ updates on “what an awesome time!” they’re having, or glue yourself to your television set and watch all your favourite

bands play your favourite songs, and feel your heart sink low into your stomach, because you know it would have been worth it? Not anymore!There are a number of organisations that work at majority of the main festivals now, whether it’s litter picking, or working behind the bar, but in every case, you get to go to the festival of your choice, for

free! But what if you don’t want to pick up the used condom wrappers and baggies off the floor of people’s campsites? What if you don’t want to serve the inebriated bastards who actually paid, and who you’re horribly

jealous of? That’s right, there is ANOTHER solution, and it’s not jumping the fence.Organisations such as Festaff and Oxfam have made dealings with festivals such as Download, Sonisphere and Bestival, where they bring a large amount of staff with them to patrol the festival, or keep an eye out on the campsites, or even sit behind a desk and put wristbands on the punters. In some cases, you even get paid, but in most cases, you really are just working off your ticket to be there, but still get majority of the festival off to enjoy yourself. Sounds like a sweet deal, right? Tara Perera from Audio Addict investigates exactly what the deal is with Festaff at Donnington’s Download Festival.You turn up to Download, in the pissing down rain, expecting to see bright lights, rock stars, and a backstage pass sitting there waiting for you. Don’t be too upset when you don’t find this though, that’s not part of the deal. You’re welcomed by a spotty teenager, and showed which way to trek, and trek you will! Your campsite is as far away as humanly possible, and waterlogged. That’s fine, you probably won’t be spending too much time there anyways, after all, you’re here to work, as your unbelievably Scottish manager tells you, although as a Southerner, you think that’s what he said. He lays down the law, warns you off on drugs, tells you a story about how he’s already kicked a couple out for going racing round the Donnigton track and basically just gets through all the formalities. Now, by this time, you should know EXACTLY what bands you want to see, when they will be on, and how much begging you want to go through to see them, after all, you did travel all this way for

BEHIND THE SCENES AT THE FESTIVAL OF YOUR DREAMS

"the fact you could have got a

better nights sleep in the river thames

escapes

free, it’s clearly your God given right to see them? No. If you’re pencilled in for a shift, which are picked at random, you are doing that shift, unless you can find some simple minded person to cover you. He lays down the law, warns you off on drugs, tells you a story about how he’s already kicked a couple out for going racing round the Donnigton track and basically just gets through all the formalities. Now, by this time, you should know EXACTLY what bands you want to see, when they will be on, and how much begging you want to go through to see them, after all, you did travel all this way for free, it’s clearly your God given right to see them? No. If you’re pencilled in for a shift, which are picked at random, you are doing that shift, unless you can find some simple minded person to cover you. For arguments sake, lets say you got the cover. Score. Now you’re being told to go back to your soggy tent, sit around with a bunch of strangers, in the rain, make small talk then try to get some sleep. After all, you need to be in ‘The Village’, which looks more like a gypsy site at the moment, at 9am. Brilliant. Thankfully, majority of the people who do work for Festaff are really great people! There are some true characters that go for this kind of work during the summer, so the fact you could have got a better nights sleep in the river Thames slowly escapes your mind.Finally, you’re on your feet, trudging through the muddy waters of metal world, being given the grand tour of Download. Grand tour?! In all honestly, before a festival opens it’s doors, it looks like that really rubbish carnival that comes to your town every bank holiday, with the dodgy pikeys that you reckon would knick your wallet if you gave them the chance. Still, must keep your spirits high. You’re at the festival, chin up, a little bit of rain never killed anybody. And luckily, all your

shifts commence in heated little porta-cabins, with unlimited amounts of tea and Download FM. The deal is definitely getting sweeter and sweeter. You’re expected to do a grand total of 3 shifts over the 3 days, each one lasting 8 hours. It sounds like a long time, but if you’ve got the right company, and you love tea as much as the next person, you’re perfectly happy! Not to mention the abundance of humour you will undoubtedly witness from excruciatingly drunk punters.Now your shifts done, and it’s roughly 4pm, you’re astounded by how much the place looks like a refugee camp, but forget about that. It’s band time! You trek on over to the arena, but what’s this? A queue? You didn’t sign up for any queue’s?! Well you don’t have to! With your special ‘Front of House’ wristband, you can get to the arena through the fencing or any gaps you might find, and basically cut all kinds of lines, because you’re a workie! Fantastic. You’re also allowed in the arena up to 2 hours before anyone else, so if you’re a die hard fan of a certain band, and want to be at the barrier for their performance, it’s 100% possible to do, without waking up ridiculously early and queuing for about an hour.

So your last day is here, you’ve seen all the bands you wanted to see, you’ve witnessed lots of drama, your food has been paid for and it’s all been for free. Sure you’ve slept in unbearable condi-tions, and you’re pretty knackered from going straight from party-ing to working, but lets face it, it was 100% worth it. No one fell on your tent because they were drunk, no one’s stolen your stuff, and no one would, you’re camp-ing in a secure place, with secu-rity guards left right and center. You even found a sneaky little bathroom that had hot water in, what more could you want?!You definitely don’t need money to go to a festival and have a good time, so if you’re strapped for cash next summer, sign up on http://www.festaff.co.uk/ for the greatest free weekend you’ll probably ever have.

Words: Tara PereraPhotos: Cara Wiseman

audio addict #4 2010

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